Rating: 4.5/5
Priests and pilgrims come to a pillar. Atop is Simon, who has stood there for six years, six months, and six days. To convey gratitude, they present Simon with a taller pillar.
His mother greets him as he walks to the new pillar, but he reprimands her for coming between God and his servant.
A priest tries to bless Simon, and Simon threatens him with a stick, stating that he is not worthy of receiving such a blessing.
A man without hands begs for aid. Simon prays for him, and his hands return.
The priests pray with quiet resentment to show solidarity with Simon.
Thunder strikes! A beautiful woman walks by. A priest notices. Uh, that’s a sin, pal!
A priest warns a shepherd not to fuck his sheep because the devil walks these parts.
The woman from before comes dressed in a childlike sailor outfit, playing ring and singing offensive rhymes. She claims innocence, showing off her legs and breasts to show how innocent they are.
In a blink, she is with him, poking him. He prays. She quickly flees, resembling an elderly naked woman.
Satan’s many temptations begin.
She argues Simon should release his penance and embrace a more enjoyable life.
A priest criticizes Simon, saying his efforts don’t benefit anyone. Simon renounces humanity as a distraction.
To compensate for moments of confusion, he adds rules to his penance.
Made during Buñuel’s second exile in Mexico, the film pokes at renunciation before an everlasting God.
Why invest all your time in someone who doesn’t understand it?
The humor ranges from astute to absurd, like an art-house Monty Python.
Satan drop-kicks a goat. A frog explodes. A shepherd talks about his goat’s excellent tits. Very silly.
I would simply comply if Silvia Pinal asked me to step down from the pillar.
The stories on why this is only 45 minutes differ between Buñuel and Pinal, but it doesn’t matter. As abrupt as the ending, it all comes together.