Review of El Topo (1970) by Adam K — 03 Jun 2009

Alejandro Jodorowsky's El Topo is a bright, symbolic, and ultra-violent journey into the philosophies of religion and human nature. It could easily be described as a psychedelic western or a religious experience on LSD. It is a film that has no boundaries, and the director intends for you to know that. From its subtle opening shot, leading into a a scenario dominated by dead-hanging bodies and pools of blood, the picture combines the elements of beauty and chaos to create art.

El Topo (which means The Mole) is a drifter, who upon stumbling into scenarios of sheer chaos and violence, takes a stand against the corruption of the lands. The story is symbolic, playing upon the idea of purgatory with our protagonist vicariously symbolizing the figure of someone that could be described as Jesus. Each counterpart plays a role in the story of its influences, including the devil, Mary Magdeline and any questionable persona who adds to the conflict thrown in the story. This is a classic western with a truly out-of-the-box twist.

If you are sensitive, this film may not be for you. No victim is spared because of any particular factor including age, gender, race, life style or body type. Spontaneous transitions often occur within scenes that drive the mood from an easy-going visual wonder to a nightmare of the capabilities of any human being. But all in all, this film is as real as an abstract experience can get. It is filled with symbolism, not fantasy, mysticism, not impossibilities.

For years, this could only be shown at midnight screenings in art houses. Controversy appears in almost every corner. Director Jodorowsky asks harsh questions about power, and who should be in control, as well as the amount of honor within some of those who do have control. Within every trace of grim existence within this picture is a statement, one that dares to ask, how honorable is what many consider to be honorable?