Viva la muerte / baal babylone by Fernando Arrabal (4 star ratings)Fernando Arrabal Terán (born August 11, 1932 in Melilla, Spain) is a Spanish playwright, screenwriter, film director, novelist and poet. He settled in France in 1955, he describes himself as “desterrado,” or “half-expatriate, half-exiled.”
Arrabal has directed seven full-length feature films; he has published over 100 plays, 14 novels, 800 poetry collections, chapbooks, and artist’s books; several essays, and his notorious “Letter to General Franco” during the dictator’s lifetime. His complete plays have been published in a number of languages, in a two-volume edition totaling over two thousand pages. The New York Times theatre critic Mel Gussow has called Arrabal the last survivor among the “three avatars of modernism.”
In 1962 Arrabal co-founded the Panic Movement with Alejandro Jodorowsky and Roland Topor, inspired by the god Pan, and was elected Transcendent Satrap of the Collège de Pataphysique in 1990. Forty other Transcendent Satraps have been elected over the past half-century, including Marcel Duchamp, Eugène Ionesco, Man Ray, Boris Vian, Dario Fo, Umberto Eco and Jean Baudrillard.
Sign in. Stars on the purple carpet at the Emmys decide which TV show characters would make great superheroes or supervillains , and more. Watch now. Running away from the police, Aden goes to the desert where he meets an uncivilized man who has a special link with Mother-Earth. He ends up by convincing the hermit to come along with him into another desert The local count and his Fascist nephews ally with the rebels; the count's son, indifferent to politics at the outset,
Fando struggles with his father's arrest, and in a shocking moment discovers a letter in which his mother admits to betraying his father. His mother convinces him that his father committed suicide in prison, but Fando doubts this and attempts to discover the true fate of his father. The debut film of Spanish playwright Fernando Arrabal, Viva La Muerte is a surreal tour-de- considered by many critics to be the pinnacle of Spanish avant-garde filmmaking. Fueled with surreal images of violence, sexuality and biting political commentary, the film posits Arrabal as one of the preeminent Spanish-language surrealists alongside Luis Bunuel and Alejandro Jodorowsky. We have ratings, but no written reviews for this, yet.
It has gained cult popularity as a midnight movie. The opening credits sequence features drawings by acclaimed artist, actor and novelist Roland Topor. When Fando's fascist -sympathizing mother turns his father into the authorities as a suspected communist, Fando Mahdi Chaouch is told that his father was executed.
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Having seen and disliked Alexandro Jodorowsky's screen adaptation of an early Arrabal play, "Fando and Lis," and having duly noted the symbols of horror, the rituals of disgust, the obligatory and unfelt eroticism, and the pervasive allegory, I was in no way prepared for Fornando Arrabal's own first film, "Viva la Muerte," in which those elements reappear—but charged now with an intensity and a complex vitality that I have not seen equalled in recent cinema, especially not in any recent cinema of the absurd. Marks Cinema and, though no perfect movie, it seems to me inescapably a major work. Fando searches for his father and never finds him, as Arrabal never found his, but he remembers him and imagines his fate—and in a series of harsh monochrome fantasy passages, memory and imagination largely define the unique life of the film. The imagery of "Viva la Muerte"—the defecation, self-mortification, strange and unusual punishment—reads like an illustrative footnote to some Surrealist manifesto. It is as if the famous razor across the eyeball that opens Bunuel's "Un Chien Andalou" had never lost its cutting edge, its sharp capacity to peel back fair surfaces and reveal the soft sources of corruption underneath. As an esthetic program this has its limits, but within those limits it allows for insights not only of hard brilliance but also of a sometimes shockingly compassionate humanity.
At the end of the Spanish civil war, Fando, a boy of about ten, tries to make sense of war and his father's arrest. His mother is religious, sympathetic to the Fascists; his father is accused of being a Red. Fando discovers that his mother may have aided in his father's arrest. Oedipal fantasies and a lad's natural curiosity about sex and death mix with his search for his mother's nature and his father's fate. Will Fando survive the search? Claudine Lagrive Fernando Arrabal. France Tunisia.