Synopsis
A disciplined and sexually driven man forces his family to stay isolated in their home in order to protect them from the “evil nature” of human beings.
Castle of Purity
1973 ‘El castillo de la pureza’ Directed by Arturo Ripstein
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Upon hearing about the Academy Award nom for Greek director Giorgos Lanthimos and his 2009 commercial and critical darling Dogtooth, Arturo Ripstein, possibly the greatest Mexican filmmaker working today, reportedly considered sending him a message saying "I hope we win." Frankly, I wish he would have sent him that message and many more given how blatantly Lantihmos ripped off not only the premise but also a number of other key screenplay elements from Ripstein's masterful The Castle of Purity. I'm sure Lanthimos would have been less bold if Ripstein's film had been available on DVD from Criterion or was simply better known. Ripstein has nothing to worry though. Dogtooth is not going to remain with us for a very long…
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Is this Yorgos Lanthimos'
favorite film or something?
(In all seriousness, I know it's
not, but I was deeply surprised
to return to his "favorite films"
list and not find this; maybe he
thought he could improve upon
it with Dogtooth but, if that's the
case: an ambitious undertaking.) -
Before Dogtooth (2009), there was the Mexican masterpiece El Castillo de la Pureza.
Gabriel Lima is a family man disgusted by humanity, a desperate individual that has the perception of all things in the world coming to an end. He decides to confine himself and his family for 18 years in a big colonial house in order to avoid his wife and his three sons to have any contact with the outside world. The family survives thanks to the business the father started with his invention of a home-made rat poison, which is fabricated by his sons everyday like factory laborers. Only Gabriel is allowed to go outside, selling the merchandise to nearby stores and businesses, while encountering troubles with…
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¿Por qué ya no se hacen películas así?
No es que me vuelva loco por los remakes, pero la trama de esta película se podría beneficiar de muchas de las técnicas modernas (y de que, para bien o para mal, muchos de los tabús que existían en la época se han ido dispersando) para lograr un gran filme que logre impactar y/o perturbar.Claro que lo dudo, porque hoy en día ya es más difícil que la gente se arriesgue a hacer algo nuevo... más si no es una comedia protagonizada por Omar Chaparro ó Aislinn Derbez.
Para mi el que se lleva las palmas por mucho es Claudio Brook, su forma de balancear ambas caras del personaje me hizo creer a ratos que padecía de bipolaridad.
Un gran trabajo de Ripstein en mi opinión. Lo único malo de ver este filme es que me hace preguntarme: ¿Qué te pasó, cine mexicano? Antes eras chevere...
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There's a formal elegance on display here, violating the space of the film just often enough to penetrate the sadistic narrative that carries the film: tracking shots, spatial cuts, beautiful lighting. Partially this is something to be appreciated on its own in terms of aesthetic, but it's also a utilitarian move--it's a distancing, it places the narrative in a realm apart from us, the viewers. What's interesting is that normally distancing is something used to foreground the fact that the viewer is watching a film--but here, the distancing serves to alienate the family even more.
Obvious point of reference for this flick is Dogtooth, as that film recently became a minor sensation, while this goes mostly unseen an unavailable. Yes,…
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Obviously there are parallels with Yorgos Lanthimos' breakthrough film, Dogtooth. But I wouldn't go so far as director Arturo Ripstein in saying that Lanthimos' owes him part of all the acclaim he receives. Yes, they both are family in captivity movies with a father who goes out and forbids his wife and children from doing the same. However, Lanthimos' movie is like a twisted black fairytale with lore of canine teeth, murderous cats, home video rentals, barbie dolls, visiting prostitutes and bathing suit games. And both of the parents are in on it (and even watch porn together). Imagination is a big part of Dogtooth. It's frightening captivity and poses the question if children—who don't know anything other than the…
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رابط الترجمة: subscene.com/subtitles/el-castillo-de-la-pureza/arabic/2410970
هناك نقطة أشعر يجب الحديث عنها وهو تشابه الفيلم جزئيًا بنظر البعض مع فيلم "ناب الكلب" للمخرج لانثيموس، الموضوع سخيف بالنسبة لي لكن لكثرة الحديث عن هذه النقطة شعرت بحاجة إعطاء رأيي الشخصي فيها. الآن لانثيموس تعرض إنتقاد كبير من الصحافة اليونانية قبل أي شخص آخر. تعرض لهجوم بمن هم يجب أن يساندونه قبل أي شخص أخر. وصف لانثيموس ذلك بالحقد. وحقيقة هذي ستكون ردة فعل أي شخص شاهد الفيلمين. سأحاول تبسيط الموضوع قدر الأمكان لكي لا يأخذ أكبر من حجمه، لأن حقيقة موضوع السرقة بالسينما طويل ولو نركز بهذا الجانب سنرى العديد من الأعمال عبارة عن سرقة من بعضها البعض ومفهومه أساسًا بالفن لا يعكس معناه الحرفي بالمجالات الأخرى. المخرج جيم جارموش لديه مقولة رائعة حول…
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Muy bien, no esperaba nada y termine con tremendo odio al personaje de Claudio Brook, hasta ahora una de mis favoritas de este director.
Hay una cierta maldad que se ambienta conforme las escenas y situaciones, se sumerge en doble moral y la rigidez que contrae, violenta y enferma en su mayoría, esto trajo consecuencias... -
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El castillo de la pureza is the story of Gabriel, his wife Beatriz, and their children: Porvenir (Future / as in what's to come), Utopia and Voluntad (Will / as in someone's will to do something). With the exception of Gabriel, no one has left the house in 18 years.
Gabriel is shown as a man who doesn't want his children to be harmed by the outside world, but as soon as he walks out, he becomes the man he fears his children will eventually encounter. He flirts with young girls and cheats on his wife with prostitutes, while shaming his wife for not being a virgin or her daughter for simply answering another man's question.
The set increases the…