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The characters are all dumb and extremely overreactive. The lead feels like a supporting character, and it's silly that there are attractive women fighting over him. This is one of those films where the plot points are too heavy; they sound alright on paper, but played out, they're a stretch of the imagination. We have a problem with tenants -- kill them. We're standing next to each other -- are we going to get married now? The police are going to arrest me -- I must gunfight them and die for all of you people I didn't care about and threatened to kill most of the movie. Melodramatic not-so-neorealist absurdity is how I'd best define this piece.
After his collaboration with Dalí at the height of surrealism, Luis Buñuel laid low and then re-emerged in Mexico where he slowly rebuilt his career with a series of commercial films for local producers. Some of these films are now recognised as important parts of his oeuvre (Los Olvidados, The Exterminating Angel) but many remain virtually unknown. El Bruto falls into the latter category. Clocking in at a trim 80 minutes, it is basically straight melodrama. Although Buñuel's usual interests (surrealism, feet, insects) are absent, there is a strong Marxist undercurrent which aligns with his political orientation. A rich landlord hires El Bruto, more brawn than brains working at a slaughterhouse, to help him evict some poor tenants who are organized to fight. Poor Bruto punches a sick old man who later dies; even worse, he falls in love with the man's daughter who freaks out when she discovers Bruto is responsible for her father's death. All the while, the landlord's wife is virtually throwing herself at Bruto. Well, it doesn't end well for any of them. Worth a look but not up there with Buñuel's masterworks by any stretch of the imagination.
Melodramatic Bunuel film has a great cast but is not one of his best.
A film from Buñuel's more commercial filmmaking period, that certainly can't be considered among his most vintage works. Still, The Brute does manage to be a good story about man's vulnerability to the opposite sex, with a protagonist who is as endearing as he is tragic.
Bunuel's Frankenstein--Melodramatic and Gloomy Fight of Classes!!
A melodrama with serious, leftist, James M. Cain-ish leanings, counterbalanced by the mischief directed into it... The more conventional aspects are handled with some flair - there's an exciting chase through a shadowy lumber yard, and Jurado makes for a tremendous spitfire, reduced to a staring contest with a chicken in the final moments - but it feels almost as much a treatise on floundering masculinity as was the later "That Obscure Object of Desire". Bunuel is really more interested in such sideline doodles as the Don's elderly father, who sneaks out of bed in the middle of the night to raid his son's sweet supplies, pronounces "in my day, men were less sissy than they are now", and promptly outlives everybody else on screen with a penis.
Este drama realizado en la epoca mexicana por el gran Luis Bunuel retoma la pobreza y la maldad que caracterizaron a "Los Olvidados". Aunque "El Bruto" no llega a igualar a la obra maestra, basta decir que es una pelicula excelentemente dirigida, bien actuada y sumamente efectiva a la hora de contar su historia. Pedro Armendariz interpreta a un hombre fuerte y corto de inteligencia que es contratado por Don AndrÃ (C)s (AndrÃ (C)s Soler) para eliminar a los lideres comunales de una vecindad de su propiedad. Katy Jurado es Paloma, la joven esposa de Don AndrÃ (C)s, quien desea de forma lujuriosa al grande y viril Bruto. Los amantes del cine de Bunuel no quedaran desilusionados.
The interesting story has much to offer, even if it is borrowed largely from the Fordian American westerns and neo-realist Italian cinema, but by the conclusion all trails lead to a dead end. This surrealist work does a decent job of showing all sides of the governmental issues it initially deals with on a small scale and then ventures into conflicting romantic territory, which has little to do with the original direction the film was headed. âThe Bruteâ is not a confused film, for it knows what it wants to achieve and how to execute it, yet it seems as if Luis BuÃ±uel wishes to show more than his small film is capable of. Its short running time could very well have been stretched out in order to expand upon the already intriguing relationships and coherent plot. Much is sacrificed, however, as stereotypes are utilized rather than character development and the narrative is subjected to being awfully linear. Essentially, it is a well-intentioned and visually stimulating film that only suffers from a perceived lack of ambition.