You could say that he is extraordinary for its dissection of pathological jealousy, or as it captures, through hyperbole, the machismo of mid-twentieth-century Mexico. But these readings, though valid, don’t capture the full scope of the film’s artistry.Despite being relatively unknown among Mexican audiences, He is one of the most fascinating works in the history of the nation’s cinema as it slyly combines the conventions of popular Mexican filmmaking with the surrealist sensibility that made its director, Luis Buñuel, a legendary figure in his native Spain-all while catching viewers off guard and immersing them in its protagonist’s delirium.

After Buñuel left his home country in 1936, soon emigrating to America and eventually establishing himself in Mexico, he directed many films that were much less subversive than those for which he had become known in his early career, most notably An andalusian dog (1929) and The golden age (1930). In what has been called his “Mexican period,” Buñuel found himself hemmed in by the local industry’s demands and moved toward a cinema anchored in realism. But he never renounced his transgressive vocation. “I treasure that access to the depths of the self which I so yearned for,” he writes in his autobiography,My Last Sigh, “that call to the irrational,to the impulses that spring from the dark side of the soul.”

Though He answers that call unforgettably, buñuel was slow to admit that the film’s obsessions were so close to his own. When it didn’t win any prizes at the 1953 Cannes Film Festival and the Mexican press asked him about its “failure,” he defensively argued that the film was valuable for its illustration of a clinical disorder.In his view, He wasn’t a movie for festivals but was interesting because it was “based on psychopathological studies and real-world experiences.” Years later, despite his declared contempt for psychology, he proudly repeated the story that psychoanalyst Jacques lacan admired the movie and had shown it in his seminars.

The “real-world experiences” that Buñuel referred to came from Spanish writer Mercedes Pinto, whose 1926 novel He describes in first person the hell that she had lived through in her marriage to her first husband. Though the book is presented as a work of fiction, Pinto opens it with a “clarification” in which she essentially reveals it to be a chronicle of her own life up to that point. The story proper begins on the couple’s honeymoon, when the unnamed protagonist attacks his guests for flirting with his wife. His paranoia grows until it results in a suicide attempt that finally alerts doctors to his condition.His physical decline-and not his obvious mistreatment of his spouse-is what leads to his institutionalization. Pinto underlines the indifference of the medical, legal, and religious authorities, the last of whom she blames for forcing her to stay married: in 1920s Spain, divorce was forbidden, in large part because of the influence of the Catholic Church. She even asked jurists and psychiatrists to write prologues and appendices for the book, hoping to inspire reforms.

Some aspects of the film are faithful to its literary source. Buñuel and cowriter Luis Alcoriza constructed certain scenes to be nearly identical to passages in the novel. The script also gave the husband-here named Francisco (Arturo de Córdova)-the entitled, megalomaniacal personality of his real-life model, and stayed true to the order in which the stages of his illness (from suspicion to total delirium) develop. But He departs from Pinto’s novel by omitting her criticisms of the institutions that turn their backs on the wife. Though Mexican society in the 1950s saw marriage as the onyl desirable fate for women (especially within “good families

The Enigmatic ‘He’ and Arturo de Córdova’s Performance

Luis Buñuel’s 1953 film, He (Él), is a chilling exploration of obsessive jealousy and a man’s descent into madness.The film centers on Francisco, a factory owner consumed by suspicion regarding his wife’s fidelity. The narrative unfolds through Francisco’s increasingly distorted perception of reality, blurring the lines between genuine events and his own paranoid fantasies.

Key Locations and Their Meaning

The film’s setting plays a crucial role in amplifying Francisco’s psychological state. Several locations stand out:

• Mexico City: Represents the societal constraints and the breeding ground for Francisco’s anxieties.
• Guanajuato: The city of winding streets serves as the backdrop for the couple’s honeymoon, a period initially presented as idyllic but quickly tainted by Francisco’s suspicions.
• The Cathedral Bell Tower: This location symbolizes Francisco’s detached observation and judgmental gaze, as he compares passersby to “worms.”

Arturo de Córdova: The Perfect Francisco

It’s difficult to envision anyone other than Arturo de Córdova embodying the role of Francisco. His distinguished presence and cosmopolitan air immediately establish a power dynamic, explaining why other characters seem to yield to his will. De Córdova was a veteran of Mexico’s Golden age of cinema, having collaborated with renowned directors like Emilio “El Indio” Fernández, Julio Bracho, and Roberto Gavaldón, and sharing the screen with icons such as Dolores del Río, María Félix, and Silvia Pinal.

Though, his suitability extended beyond fame and good looks. While often typecast as a romantic lead, de Córdova frequently portrayed characters teetering on the brink of insanity. His performance in Juan Bustillo Oro’s The Man Without a Face (1950), where he plays a killer grappling with a repressed identity, foreshadows Francisco’s own psychological unraveling.

Buñuel skillfully pushed de Córdova to explore the depths of irrationality. The director and actor shared an intuitive understanding, with critics noting that de Córdova’s gait in He mirrored Buñuel’s own.

Commercial Failure and Lasting Impact

Despite de Córdova’s compelling performance, He was a commercial disappointment. Audiences reportedly laughed at the film’s depiction of paranoia, particularly scenes intended to be unsettling. This reaction highlights the film’s challenging nature and its departure from conventional cinematic narratives.

Key Takeaways:

• He is a powerful exploration of jealousy and psychological breakdown.
• Arturo de Córdova’s performance is central to the film’s success, drawing on his history of portraying complex, troubled characters.
• The film’s setting and symbolism contribute considerably to its unsettling atmosphere.
• Despite initial commercial failure, He remains a significant work in Buñuel’s filmography.

Publication Date: 2025/11/30 05:29:14