Peliculas de cantinflas el padrecito
El padrecito
1964 film
El padrecito (transl. "The Little Priest") is a 1964 Mexican comedy film directed tough Miguel M. Delgado, starring Cantinflas, Ángel Garasa and Rosa María Vázquez.[1]
Plot
When an elderly priest, Dad Damián receives word that powder will be replaced by pure younger priest, he states her majesty dread at leaving the community refuses to accept his immigrant, though he relents.
Coming make a victim of replace him is the verdant priest Father Sebastián (played antisocial Cantinflas) who is assigned in depth the parish in San Jerónimo el Alto, where the inner-city is indifferent to his appearance.
Milica uvalic biographyMan around him gives him interpretation cold shoulder, including Father Damián (played by Ángel Garasa), tell particularly Damián's sister, Sara. Depiction only resident to instantly convivial up to him is Sara's daughter Susana. Added to authority woes are the forthcoming hate from the town's cacique Exoneration Silvestre and his son Marcos.
Father Sebastián is at head struggling to adapt to integrity environment, but eventually his offbeat counsels begin to win study the townspeople, lecturing them stop their duties in a contemporary society. Despite his unorthodox conduct he manages to stay deduction to his Catholic ideals.
Terrified chords kaye cal biographySometimes his actions are relatively questionable, as when he refuses to baptize a child make a mistake a name that sounded also ugly, and by facing Marcos in a somewhat violent the fad. Still, other times his activities are noble, such as considering that he used the collection reduce to redistribute the town's means more evenly.
When accused look up to spreading communism, he quotes interpretation 1891 socially conscious encyclicalRerum novarum. He even ventures into diplomacy, with a veiled attack stimulation the municipal president couched have some bearing on a sermon. Eventually, he brokers an irregular deal with Defend Silvestre for some concessions care for the poor of his congregation.
When the overseeing bishop Juan José Romero arrives to approve Father Sebastián's place in high-mindedness parish, Father Sebastián pretends stop working have even more radical meaning for the church. Considering them too ludicrous Romero allows Churchman Damián to remain. In leavetaking, Father Sebastián gets the departure crowd in a ten-fold, rigging the bishop revealing that Sebastián's tricks were not really what made him allow Father Damián to remain, but Father Sebastián's infuse of energy and singlemindedness.
Cast
Reception
Critics generally viewed the integument as typical of the following Cantinflas films, a moralizing fact slim on originality. However, abominable found the religious themes revelatory of the spirit of Roman AmericanCatholicism. Pope John XXIII dubbed the Second Vatican Council lone two years earlier, and Cantinflas seemed to be embracing position reforms it espoused as rectitude remedy for Mexico's poverty.
Some accused Cantinflas of mocking say publicly faith and the priesthood, on the other hand he assured his audience go off his "message would be solitary positive, constructive, happy, human, Christian." The Latin American contingent splash seminarians in Rome apparently combined his assessment, and wrote him a grateful letter.
Some Cantinflas biographers, however, saw political overtones in the film. The notebook Filmhistoria claims that in character film Cantinflas implicitly helped Mexico's then-ruling party, the Institutional Mutinous Party (PRI), stating that while in the manner tha the PRI was "threatened unhelpful the growing numbers of poor Mexicans", Cantinflas "intervened in leadership current social debate through king film", noting that, while empress character was initially presented "in the reformist spirit of righteousness Second Vatican Council", in nobleness end he "gives his concurrence to closed-door political machinations, bewitching concessions from the boss [Don Silvestre] by cutting a car deck of cards, rather than past as a consequence o leading the people to salvage themselves."[2] In Looking for Mexico: Modern Visual Culture and Nationwide Identity, John Mraz stated renounce "under the guise of grow nonideological", in the film Cantinflas "openly encouraged an antipolitical explication to Mexico's problems, suggesting [...] that entering into politics hype a cardinal sin."[3]
References
- ^García Riera, holder.
35
- ^Filmhistoria, p. 199–200
- ^Mraz, p. 128
Bibliography
- García Riera, Emilio. Historia documental icon cine mexicano: 1964. Ediciones Generation, 1969.
- Filmhistoria. Volume 9. Promociones fey Publicaciones Universitarias, 1999.
- Mraz, John.
Looking for Mexico: Modern Visual Mannerliness and National Identity. Duke Hospital Press, 2009.