Review of The Young and the Damned (1950) by Espen N — 19 Apr 2008

Luis Buñuel is known for vivid surrealism as well as intellectual attacks on organized religion and the bourgeoisie. This film is close to Italian neo-realism in content - city-life in the suburbs, but more daring and experimental in form.

Jaïbo, the leader of the band of restless kids, is back from prison and takes advantages of whom he likes, no one can touch him without a smack. Mexico City is seems over-populated, and struggle for work, money and shelter are everyday ingredients.

Crime is inevitable. I like how Buñuel makes dreams suggest state of consciousness. Pedro, the boy which comes closest to being the film's hero is haunted by a gruesome murder connected to Jaïbo, and problems with telling the truth.

One night, he sleeps in his bed, and not only does his spirit leave his body in this dream, but he confessed to his mother on the soundtrack, yet she is simultaneously appearing in slow-motion coming towards him in the bedroom, without speaking a word.

Cocks and flying hens are recurring throughout the film, and they behave viciously and disturbing. I don't think anyone else than Buñuel had the ambition to do these kinds of experimentation in the early 50s, and the film feels very refreshing.

The fact that the kids are all amateurs is impressive, not to mention how I feel so boiled up when Pedro swings after Jaïbo during their fight of the 50 pesos. It's moving to watch, the acting is never questionable as anything else than authentic.

Pedro, unlike many of his friends, is a boy trying to do good, but is constantly beaten around the bush and manipulated by a teenager who should have been admirable. Bad influence. One can argue that sister Mechete's reaction to Jaïbo's last killing lacks emotion, but this stresses how senseless it is in the slum.

'Los Olvidados' is still after half a decade, one of the strongest social anthropological films about life in the asphalt jungle.