Tag Archives: Arturo Ripstein

Thinking Aloud About Film: El imperio de la fortuna/ The Realm of Fortune (Arturo Ripstein, Mexico, 1986)

March 22, 2023UncategorizedArturo Ripstein, Blanca Guerra, El imperio de la fortuna, Ernesto Gómez Cruz, Italian neo-realism, Juan Rulfo, Magical Realism, Mexian Cinema, rise-and-fall narratives, Scarface, The Realm of FortuneNotesonFilm1

Dionisio (Ernesto Gómez Cruz) lives with his mother in a one-room hut, scraping a living as a town-cryer. He’s at cock-fight in a village fair and is given a bloodied rooster as a tip. Dionisio heals him and begins a career. The innocent naïve peasant is transformed into a leading gambler, marries a beautiful singer (Blanca Guerra), who brings him even more luck. But in his single-minded pursuit of money, he loses sight of everything else and ensures his own downfall. A synthesis of many elements we’ve seen in previous Ripstein films, a film which shows the influence of Italian neo-realism but also leaps into a more magical kind of story-telling. Dark and funny, with a great evocation of the sensual and criminal dimension of rural fairs. We discuss this and more in the podcast below:

The podcast can also be listened to on Spotify here: https://open.spotify.com/show/2zWZ7Egdy6xPCwHPHlOOaT

and on itunes here: https://podcasts.apple.com/gb/podcast/first-impressions-thinking-aloud-about-film/id1548559546

José Arroyo

EL SANTO OFICIO/ THE HOLY OFFICE / THE HOLY INQUISITION(Arturo Ripstein, Mexico, 1974)

March 7, 2023UncategorizedArturo Ripstein, Cannes Film Festial, El santo oficio, Mexican Cinema, The Holy Inquisition, The Holy Office, Thinking Aloud About FilmNotesonFilm1

EL SANTO OFICIO/ THE HOLY OFFICE / THE HOLY INQUISITION (Arturo Ripstein, Mexico, 1974) is a more serious and austere film than we’re used to seeing from Arturo Ripstein, but at least as great as anything we’ve seen by him so far. A Jewish family fleeing persecution in Spain make a life in Mexico and prosper. That is, until the father dies. The family had sacrificed one of their male children to the Church as a cover-up for their own religious practices. Now a grown monk, that son returns to his father’s burial only to detect that they’re observing Hebraic practices. He denounces his own family to the Church, and the persecution begins. A great film about religious intolerance, patriarchal control, and colonial enslavement through the brutal enforcement of a particular ideology. Based on actual court transcripts, an austerely spectacular period film, with much greater production values than we’re used to seeing from Ripstein. We discuss all of this and more in the podcast below.

The podcast can also be listened to on Spotify here: https://open.spotify.com/show/2zWZ7Egdy6xPCwHPHlOOaT

and on itunes here: https://podcasts.apple.com/gb/podcast/first-impressions-thinking-aloud-about-film/id1548559546

José Arroyo

Thinking Aloud About Film: La viuda negra/ The Black Widow (Arturo Ripstein, Mexico, 1977)

February 21, 2023UncategorizedAriel Awards, Arturo Ripstein, exploitation cinema, Isela Vega, La viuda negra, Mexico, Mubi, Sergio de la Mora, The Black WidowNotesonFilm1

We continue our exploration of the Arturo Ripstein films currently available on MUBI with a discussion of The Black Widow/ La viuda negra. The film is based on Debiera haber obispas/ There Should Be Female Bishops, a novel by Rafael Solanas. It’s a film we urge all of our friends interested in exploitation cinema to see. From a producer/audience point of view, the film is all about showing as much of the female star’s body in as many sexual poses as possible. Arturo Ripstein has bypassed and exceeded the expectations of both producers and audiences by providing a film that is a corrosive critique of the pieties of bourgeois life, of the malignant influence of class and of the hypocrisies of the Church. There’s a very powerful moment where the protagonist, punitively shunned by the whole village, dons a priestly cassock to reveal all their secrets and condemn them all to hell. It was made in 1977 and perceived as so blasphemous that it was originally prohibited release. It was released five years later to much acclaim and many Ariel nominations, the Mexican equivalent of the Academy Awards, with Isela Vega winning for best actress. We loved Castle of Purity and think La viuda negra even better. Why this is so is the subject of the podcast.

The podcast may be listened to here:

The podcast can also be listened to on Spotify here: https://open.spotify.com/show/2zWZ7Egdy6xPCwHPHlOOaT

and on itunes here: https://podcasts.apple.com/gb/podcast/first-impressions-thinking-aloud-about-film/id1548559546

For those of you interested, Dolores Tierney informs me that ‘This book chapter (by Sergio de la Mora) from Latsploitation has a good bit on La viuda negra: Isela_Vega_article

José Arroyo

Thinking aloud About Film: El Castillo de la pureza/ Castle Of Purity (Arturo Ripstein, Mexico, 1972)

February 11, 2023UncategorizedArturo Ripstein, Claudio Brook, Luis Buñuel, Mexican Cinema, Rita Macedo, Thinking Aloud About Film, True StoriesNotesonFilm1

I’ve been wanting to see Arturo Ripstein films for decades and never had the opportunity. Now MUBI is showing five of his films and, on the basis of El Castillo de la pureza/ The Castle of Purity, I plan to see them all. The film is based on a real story – not unlike that of the Wests or Joseph Fritzl – of a man who keeps his family locked in the house to protect them from being morally corrupted by society even as he – the only one allowed outside – indulges in every perversion the outside world allows him. When he comes home – the family, who’ve been working all day manufacturing the rat poison that is their living – gets all his self-hatred projected onto them, keeping them off-balance and under his thumb. The shadow of Buñuel overhangs this film – Ripstein had been his assistant on The Exterminating Angel, which bears some resemblance to this film, and Claudio Brook (Simon of the Desert) and Rita Macedo (The Criminal Life of Archibaldo de la Cruz) – the stars – also performed for Buñuel. A beautifully designed film, with a textured creepiness that envelops the family, one that is not just due to the rain and shadows that seep right into every corner of the home (the outside world is always sunny and bright) but a moral murkiness, a corrosive poison that is the result of that imperious patriarchal insistence on ‘purity’. A marvellous film. We discussed all the above and more in the podcast.