User Reviews

After being forced to self-exile by the Spanish Civil War, Spaniard director Luis Buñuel moved to Mexico, and found in the country's struggling film industry the freedom he had so long desired. In the late 50s, and after a decade of making some of the best Mexican movies ever mad, he met Gustavo Alatriste and his wife, actress Silvia Pinal. Alatriste was very interested in Buñuel's cinema and decided to produce Buñuel's movies with Pinal as main actress. This partnership gave Buñuel even more freedom than before, and resulted in three of the most interesting and controversial films of his career. "Viridiana", "El Ángel Extreminador" and this movie, "Simón del Desierto", form a trilogy where Buñuel criticizes mercilessly, but with humor, the hypocrisy of the high society, the government and of course, religion.

Simón (Claudio Brook) is a deep religious man who decided that to be closer to God, he should remain alone in a column, living as an hermit practicing asceticism, in order to escape from the world's temptations. Soon Simón becomes to be regarded as a Saint, and people from all over the region come to hear him speak, and witness his miracles. Satan (Silvia Pinal) visits Simón too, in an attempt to tempt Simón with the earthly pleasures that Simón has decided to leave behind. However, the Devil is probably the lesser of Simón's problems, as his own elitist position as an outsider makes him to discover the truth behind organized religion, and so he begins question the nature of what he does, and more importantly, what he believes.

Written by Luis Buñuel and Julio Alejandro (Buñuel's collaborator in "Nazarín" and "Viridiana"), the story of "Simón del Desierto" is loosely based on the real life story of Saint Simeon Stylites, a monk who like Simón, decided to spent his days at the top of a pillar. "Simon del Desierto" parodies St. Simeon's story in a wonderful satire about the way Saints are seen and venerated by the religious people. Using the character of Simón, Buñuel explores the human side of religion and with a good dose of humor, he completely exposes his views on it, making a sharp criticism not on religion itself, but on religious organizations and their blind and passive followers, who in Buñuel's eyes, become more and more dehumanized the closer they get to God.

In many ways, "Simón del Desierto" works like a slow and fascinating descend into one of Buñuel's surreal nightmares. With a beautiful cinematography by the legendary Gabriel Figueroa, the movie feels initially as a real biopic of the Saint's life, but the portrait of dignity that Buñuel seems to be creating with Simon soon discovers itself as an absurd, as Simón's exaggerated Holiness proves to be as corrupting as the Devil's temptations, and through a series of visions Buñuel breaks the realistic tone and smoothly turns the movie into a surreal madness apparently mimicking the dehumanization of the Saint. The madness concludes in one of Buñuel's most strange finales ever, inviting the audience to make their own conclusions about the movie, and about sainthood.

Claudio Brook and Silvia Pinal are basically the main cast of the film, and their work together is really amazing. A very underrated actor, Brook is very convincing, and very funny too, making Buñuel's character come to life and carrying the film with natural ease and powerful presence. Brook delivers his lines with dignity and power, as if he was really being an actor in a biography of the Saint (Ironically, he would play Jesus in two films after "Simón del Desierto"). Silvia Pinal is very good as the Devil, although not as impressive as she was in "Viridiana", she delivers an excellent performance as the erotic representation of Satan. The supporting cast is very small, and have very limited screen time, but overall they do a good job. Jesús Fernández shines in the small role of a dwarf goatherd who seems to know more than what his humble looks tell.

The movie is probably one of the most interesting films of Buñuel, but at the same time one of the most troubled, as the low budget couldn't allow him better production values. But the worse flaw occurred because in a very unfortunate incident, Alatriste was unable to complete the funding of Buñuel's film, so the director was forced to stop the film's production and make a quick ending. The bizarre finale of the movie is very simplistic and feels horribly rushed; breaking the pace of the story in a very bad way. Still, even when the rushed ending damages the movie a lot, at least it gives an idea of what Buñuel's intentions with the film were.

While the movie was never completed the way Buñuel desired, "Simón del Desierto" is equally as good as the master's better known films, and it also offers the chance to understand the ideology of the man known as "master of surrealism". The excellent performances, Figueroa's beautiful photography and Buñuel's superb direction are definitely the ingredients for a masterpiece, and this modest movie, incomplete as it is, it's definitely one. 8/10

The funding for this gleefully blasphemous feature was pulled before the film was completed, resulting in an abrupt and not quite satisfying ending. Still, what's left is a little slice of heaven (pun intended) with some of its directors most direct and powerful attacks on the clergy he made a career of hating. Bunuel here presents us with an ascetic so self-involved that he declines to embrace his own mother; he restores the hands to a peasant who immediately uses them to strike his own child; he prides himself on eating only lettuce, mentioning it often and to anyone who will listen. "Simon" is a good-looking film, too, with a visual landscape that echoes its protagonist's austerity and startling surreal touches -- such as a coffin that slides through the desert scrub to the base of the column atop which Simon spends his years -- that recall the glory days of "L'Age d'Or." It might have been a masterpiece had Bunuel been allowed the full scope of his vision; it's a major film as is. 8/10

This surrealist film is based on St. Simon Stylites who lived circa A. D. 400 . He was a ragged ascetic (well played by a bearded Claudio Brook) who spent thirty-seven years atop a seventy-foot pillar preaching to Christian flocks and avoiding temptation . As he is tempted by the devil (a beauty Silvia Pinal) under various forms.

This rare and weird movie is largely considered a Luis Buñuel's masterpiece . It's a comical parable about a tattered anchorite with some humor and hilarious criticism to Catholic Church . After returning his native country , Spain , by making 'Viridiana' played by Fernando Rey, Silvia Pinal , but this film was pursued by the national censorship and really prohibited on the grounds of blasphemy , then Buñuel with his screenwriter Julio Alejandro went back Mexico where realized in low budget 'Simon of the desert' and produced by Gustavo Alatriste . It contains good and atmospheric cinematography by excellent Mexican cameraman Gabriel Figueroa . Religious music , including a pilgrim hymn and , of course , 'the drums of Calanda' sounds , Luis Buñuel's location of birth . This movie won deservedly the Special Jury Prize at the 1965 Venice Film Festival . This is a nice strange story for Luis Buñuel aficionados, being deemed by some reviewers as one of the best short film - forty minutes- ever made . Rating : Above average , worthwhile watching.

This film is maybe one of the best films that Buñuel ever made although not among the most popular. Why? Because the production was shot faster than fast and the money ran out so the film couldn't complete the screenplay and art direction is poor. Besides there is the cultural fact, you need some religious background (Catholic if possible) to understand the irony of the film and the references. Humour differs from drama mainly in it's strong connection with time and environment while the latter is more transcultural and timeless. Buñuel had a deep religious knowledge although he lacked faith. The reason why the rock scene is so is that Buñuel didn't like rock. Sometimes people prefer Buñuel's French films because they look more glamorous, the caracters are more sophisticated and wearing richer clothes. Anyway I think the core of his filmography are his 'hispanic' films and the first ones ('l'age d'or', 'le chien andalou', Él, Los Olvidados, Viridiana, Tristana,...).

The ascetic religious Simón (Claudio Brook) believes he is a sinner and decides to self-inflict a sacrifice, living like a hermit on the top of a pedestal in the middle of the desert to be closer to God and resist the temptations of the world. His followers are peasants and travelers that believe that Simón is a saint capable of performing miracles and they crowd to hear his speeches. However, Satan (Silvia Pinal) tries to tempt him with the pleasures of the world.

In accordance with the cover of the VHS, Buñuel inspired in a Christian ascetic saint called Saint Simeon Stylites that lived for thirty-seven years on a small platform on the top of a pillar to parody his story with "Simon of the Desert" and criticize religion and believers with a witty humor. The unexpected plot point is a great and funny surprise with a completely different environment, but what else could the viewer expect from the master of the surrealism? This is the first time that I see this movie that has probably inspired Monty Python's "Life of Brian" and Alanis Morissette playing God in "Dogma". My vote is eight.

Title (Brazil): "Simon do Deserto" ("Simon of the Desert")

It is to be regretted that the filming of this had to be abandoned but the fact that what we have is the result of less than three weeks shooting is a testament to the skills of Luis Bunuel.

Despite the curtailed form it is still sufficient to enable the director to say what he has to say and to give us a self-contained masterpiece of film-making.

The title character, based upon ascetic Simeon Stylites who spent over three decades on top of a pillar with little or no sustenance will be seen either as an example of saintliness or foolishness but Bunuel, despite his avowed atheism, depicts him as a sympathetic figure whilst saving his customary mockery for those on the ground including the amputee who is not even grateful for having his hands miraculously restored; the dwarf who requests to be given a different blessing to that of his goats and of course the sanctimonious, extremely well-fed priests. One cannot but feel sorry for Simon's mother who still observes him whilst living in a tent despite his having renounced her in favour of God.

Very effective is the camerawork of Gabriel Figueroa who shoots from above and below. The score is suitably sparse and features the traditional Easter drums of Calenda that Bunuel utilised in 'L'Age d'Or'. The role of Simon represents the finest filmic hour of Claudio Brooks.

I have no doubt that Bunuel's feelings towards producer Gustavo Alatriste were mixed but happily for us their collaboration had previously resulted in 'Exterminating Angel' and 'Viridiana' which starred Alatriste's wife at the time, the luscious Silvia Pinal. Not only does the Devil have the best tunes but also the best guises and here her incredibly sexy personifications call to mind Oscar Wilde's "The only way to overcome Temptation is to yield to it"!

Bunuel is on top form here. Although compact this film really packs a punch and is free from the occasional longueurs of some of his full length features. It also confirms an astute critic's observation that Bunuel is as much a Realist as a Surrealist. Granted, the abrupt switch from a Fifth Century arid landscape to a Twentieth Century Manhattan nightclub is less than satisfactory but it is at least an ending of sorts. Needs must when the Devil drives!

I really appreciated the fact that this movie tried so hard to be different. Think about it: the plot is all about an ascetic that stands on top of a pillar in the desert for years and is tempted by the devil. This is just plain weird and deserves an 'A' for originality. Although his encounters with pilgrims and different incarnations of the Devil are very entertaining and interesting in a Surrealistic way, the end of the film will be for some a triumph of Absurdism (the director's trademark) but others will feel the film just abruptly ends in a very dissatisfying manner. I fall in the latter category. Instead of seeing the "non-ending" as great, it looks sloppy and unsatisfying--which I'm pretty sure was the director's intent. So, I would recommend this film only to those that can appreciate the weird and are definitely searching for something different. As for me, I'm glad I saw it once but that's really enough. If I want a weird film, I would much rather see HAPPINESS OF THE KATAKURIS or MONTY PYTHON AND THE HOLY GRAIL. I know that makes me low-brow, but so be it.

By the way--a word of caution: this film is sure to offend many religious people as Buñuel was pretty contemptuous of organized religion. This, plus some very brief nudity make it a film that you wouldn't want to show the kids.

ANOTHER "By the way"--the videotape of this film was terrible--featuring a washed out print and white captioning that, at times, was almost impossible to read. So, if possible, do NOT get the Video Latino brand of the film.

In his Mexican exile during the Spanish War, Luis Buñuel produced some fine films, including this one starring Claudio Brook (Alucarda, The Exterminating Angel) and Silvia Pinal (Viridiana, The Exterminating Angel) as The Devil.

This is a strange film, supposedly based upon the acts of a real saint, about an ascetic who sits atop a tall column in the desert praying, while his mother waits below.

The Devil continues to return to tempt Simon. Seeing the Devil as a woman with large breasts exposed was interesting, and would have temped me.

Simon is finally shown the futility of his penance as the world goes on despite him.

People wants miracles and when they see one they aren't pleased. Simon is proud in top of his pillar, he heals, he forgives, he disputes with the devil. But he doesn't feel he is forgiven by God. In the end, the devil have seen God, while Simon didn't and he breaks. He will remain in "rock'n'roll" hell. Is it real that modernity killed the old and simple faith? Are we living among demons?

To be honest, I didn't really like this film at all. Confusing and unexpected ending. I don't particularly like this kind of theme, but had to watch it for my film class. I do think that Luis Bunuel did do a great job at directing this film. The story of "Simón del Desierto" is loosely based on Saint Simeon Stylites' life, a monk who like Simón, decided to spent his days at the top of a pillar. "Simon del Desierto" parallels St. Simeon's story. Luis Bunuel shows us the way in which Saints are seen and venerated by the religious people. Using Simón as an example, Buñuel explores the human side of religion, and exposes his views on it. I thought that was bold and daring move by Bunuel. I like that he was comical throughout the movie which created a less tense atmosphere. One of the scenes that I thought was comical were the ones with the sheep farmer. His jabs at organized religion for example are bound to offend many who are devoted. I don't think that this film is for everyone. I can definitely see how it could offend many people. I wouldn't recommend it if you can't take that sort of humor. I will never see this movie again, but I do think that it is a great film to watch if you are interested in film history. Weird ending and I didn't really understand the meaning behind it.

The strange and unforgettable conclusion of Luis Bunuel's classic Simon of the Desert sneaks up on viewers so quickly that most react with some kind of surprise or shock that the film has come to an end. Only forty-five minutes, the story of the pillar-perching ascetic defies the conventions of the short film format and unfolds like a fully developed feature. Laugh-out-loud hilarious, the movie bursts with inventive visual gags and clever writing, along with Bunuel's trademark knack for knockout surrealist images. But it doesn't stop there; Bunuel's direction is a tour-de-force (I love the dizzying angles from Simon's lofty elevation intercut with the views of the people below).

I was fortunate enough to see an actual film print of this movie while enrolled in a Latin American film course at CU Boulder. Bunuel was a filmmaker who enjoyed poking at his audiences - one example of this is in his faux-documentary "Land Without Bread." In "Land Without Bread" he pushes the audience to laugh at the misfortunes of others (some versions), whereas in "Simon of the Desert" he pokes at his Catholic heritage.

This film may not be for everyone (especially those who attribute perceived budget to quality of story-telling...ahem). It is a hilarious criticism of religious fanaticism - a elitist man standing, for weeks on end, on a pilar in the middle of the desert in a desperate attempt to 'be closer to his god.' This is film that you can think about; therefore, those people looking to vegetate and be distracted by flickering lights for a couple hours should leave this one on the shelf - preserve the VHS tape (as it is unfortunately not available on DVD) for those who might enjoy it.

So, what will it take for this man to be tempted away from his god? Where does his weakness lie? Excellent film from an outstanding director!

That Luis Bunuel was a sarcastic madman. That is why I love his films so much!!! "Simon of the Desert" was filmed in Mexico and is in Spanish. The film concerns a sort of spiritual prophet named Simon. He could be symbolic of Christ, except for the fact he's very prideful. He stands on a tower in the desert, and people come to worship him and follow his every word. Too bad Simon doesn't follow his own teachings. In one scene when he's supposed to be fasting, he secretly eats some food. Bad Simon! Then the film becomes comical as a female devil comes in disguise to tempt Simon. She takes on various forms, including a little girl who sings songs mocking him. Later she wants to show him the sin of man. Which is a NYC music club with rock & roll and dancing. (that's not sinful) The film is very short at about a 50 minute running time. So if your into surrealism or satire, "Simon of the Desert" is a film you should definitely see. You can definitely see it's influence on Monty Python's "the Life of Brian" and "El Topo".

This film was one of the most influential pieces in affirming my chosen path of film-making. I was first introduced to this while restoring furniture in Seville, Spain. Everything Bunuel produces is a masterwork, but Simon del desierto struck me for its imagery, its unapologetic satire and socio-politico commentary, its composition of image and performances by all the actors. This is one of those films that envelopes the senses and for the duration of its story makes you forget there is an outside world. If you can get your hands on a copy, grab it and see how a true master films. On a historical note, it is interesting to know that Bunuel shot this film while living in Mexico after being exiled from Spain during the Franco regime.

Simon of the Desert is exactly that, a man living alone at the top of a long column with a Rasputin like beard in what is supposed to be Syria in the fifth century. The actual saint supposedly lived in that manner for more than thirty years.

Silvia Pinal plays Satan and she uses her sensuality to try to tempt Simon off of the tower into some very un-saintlike behavior; that is, of course, the sins of the flesh. The Catholic Church has always had an unhealthy fixation on impure thoughts. George Carlin did a brilliant routine on that subject. Unuel would have loved George.

The director was forced to leave Spain under Franco and was able to make his other films in his adopted country of Mexico.

I followed up "Viridiana" with this one from Bunuel and they are worth a watch.