VALUTAZIONE IMDb
8,2/10
22.495
LA TUA VALUTAZIONE
Un gruppo di giovani delinquenti vive una vita violenta e piena di criminalità nei bassifondi putrefatti di Città del Messico, e la morale del giovane Pedro viene gradualmente corrotta e dis... Leggi tuttoUn gruppo di giovani delinquenti vive una vita violenta e piena di criminalità nei bassifondi putrefatti di Città del Messico, e la morale del giovane Pedro viene gradualmente corrotta e distrutta dagli altri.Un gruppo di giovani delinquenti vive una vita violenta e piena di criminalità nei bassifondi putrefatti di Città del Messico, e la morale del giovane Pedro viene gradualmente corrotta e distrutta dagli altri.
- Nominato ai 2 BAFTA Award
- 12 vittorie e 6 candidature totali
Jesús García
- El padre de Julián
- (as Jesús García Navarro)
Sergio Virel
- Miembro pandilla
- (as Sergio Villarreal)
Ernesto Alonso
- La Voz al Comienzo de la Película
- (non citato nei titoli originali)
Victorio Blanco
- Vagabundo
- (non citato nei titoli originali)
Rubén Campos
- Un asilado
- (non citato nei titoli originali)
Lupe Carriles
- Doña Rufinita, vecina
- (non citato nei titoli originali)
Daniel Corona
- Un golfo
- (non citato nei titoli originali)
Trama
Lo sapevi?
- QuizWhen it was released in Mexico in 1950, its theatrical commercial run only lasted for three days due to the enraged reactions from the press, government, and upper and middle class audiences.
- BlooperIn a shot of Pedro's corpse, the victim can clearly be seen breathing.
- Citazioni
Don Carmelo, el ciego: I hope they'll kill every one of them before they born!
- Versioni alternativeSPOILER: In the director's cut, Pedro is stabbed to death by Jaibo, and Meche and her grandfather dump his body outside the town. The blind man denounces Jaibo to the police, who shoot Jaibo when fleeing arrest. Pedro's mother is left alone alone, in despair. A shorter "happy" ending, never used by the director, was filmed probably to accommodate censorship authorities or the sensibilities of the distributors: Jaibo dies in an accidental fall when he's fighting Pedro, who retrieves the stolen banknote from him. Pedro has a short conversation with Ojitos, and then returns to the reformatory farm-school (to a loud musical crescendo).
Recensione in evidenza
Where do I start? Perhaps, by writing WOW a few hundred times in a row...
The very opening shots and voice-over warn us that this was not an optimistic movie. It instantly made me believe this would be Las Hurdes in Mexico, something like a fictionalised version of Buñuel's 1933 faux-documentary about the extreme poverty of the peasants in the remote Spanish Las Hurdes region. In the first half hour, Los Olvidados's mood and style remained faithful to the influence of several Italian neo-realist movies I'd seen, namely De Sica and perhaps some early Pasolini (namely, Accattone). In a looser sense, maybe also Mira Nair's Salaam Bombay! seemed to have gotten some inspiration from Buñuel's movie. And finally, I could also and more obviously see that Fernando Meirelles's Cidade de Deus (City of God) owed more than a little to this 1950 masterpiece. I love it when I finally get to see the movie that has influenced so many other (usually minor, but more famous) films that have followed it even several decades after its release! Los Olvidados would still have been an excellent film, even if it had remained Italian neo-realistic-like till the end. But to my delight and wonder, it became something much more unique and memorable as soon as its own distinct, Buñuelian flavour kicked in halfway through, IMO elevating this picture to something more than "just" powerfully gritty and cinematically honest (as can be said and admired in the works of De Sica, Rossellini et al). To be honest, though I AM Italian and the spirit of neo-realism is somehow deeply embedded in my cultural subconscious, my problem with the Italian neo-realists has always been their lack of vision, or refusal to also venture into the otherworldly, the spiritual, the dream-like, the allegorical. Though I bow before the greatness of the Italian neo-realist masters, I will never feel completely conquered by their otherwise mesmerising pictures. Before watching Los Olvidados, I was never quite sure of the reason for this. With this movie, Buñuel has finally put his finger on exactly what I've always found was missing in pictures like Sciuscià, Accattone and Roma Città Aperta for them to truly get not just under my skin, but into my wildest dreams and imagination as well - an ability to interweave the fantastical in something that couldn't be more grounded in reality. Yet, why can't the lives of the underprivileged underbelly of the world, in this case a Mexican shantytown of the late 40s, also evoke magic? Is the fantastical only a privilege of the bougeoisie? I think not! Thank you, Buñuel, for inspiring me into thinking about this...
The very opening shots and voice-over warn us that this was not an optimistic movie. It instantly made me believe this would be Las Hurdes in Mexico, something like a fictionalised version of Buñuel's 1933 faux-documentary about the extreme poverty of the peasants in the remote Spanish Las Hurdes region. In the first half hour, Los Olvidados's mood and style remained faithful to the influence of several Italian neo-realist movies I'd seen, namely De Sica and perhaps some early Pasolini (namely, Accattone). In a looser sense, maybe also Mira Nair's Salaam Bombay! seemed to have gotten some inspiration from Buñuel's movie. And finally, I could also and more obviously see that Fernando Meirelles's Cidade de Deus (City of God) owed more than a little to this 1950 masterpiece. I love it when I finally get to see the movie that has influenced so many other (usually minor, but more famous) films that have followed it even several decades after its release! Los Olvidados would still have been an excellent film, even if it had remained Italian neo-realistic-like till the end. But to my delight and wonder, it became something much more unique and memorable as soon as its own distinct, Buñuelian flavour kicked in halfway through, IMO elevating this picture to something more than "just" powerfully gritty and cinematically honest (as can be said and admired in the works of De Sica, Rossellini et al). To be honest, though I AM Italian and the spirit of neo-realism is somehow deeply embedded in my cultural subconscious, my problem with the Italian neo-realists has always been their lack of vision, or refusal to also venture into the otherworldly, the spiritual, the dream-like, the allegorical. Though I bow before the greatness of the Italian neo-realist masters, I will never feel completely conquered by their otherwise mesmerising pictures. Before watching Los Olvidados, I was never quite sure of the reason for this. With this movie, Buñuel has finally put his finger on exactly what I've always found was missing in pictures like Sciuscià, Accattone and Roma Città Aperta for them to truly get not just under my skin, but into my wildest dreams and imagination as well - an ability to interweave the fantastical in something that couldn't be more grounded in reality. Yet, why can't the lives of the underprivileged underbelly of the world, in this case a Mexican shantytown of the late 40s, also evoke magic? Is the fantastical only a privilege of the bougeoisie? I think not! Thank you, Buñuel, for inspiring me into thinking about this...
- Asa_Nisi_Masa2
- 18 set 2006
- Permalink
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Dettagli
Botteghino
- Lordo in tutto il mondo
- 134.918 USD
- Tempo di esecuzione1 ora 25 minuti
- Colore
- Proporzioni
- 1.37 : 1
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By what name was I figli della violenza (1950) officially released in India in English?
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