Freedom at whatever cost

 TRISTANA (1970)

Reviewed by Jerry Saravia

Sadness pervades throughout Luis Bunuel's ultimately poetic and brazenly acted masterpiece, "Tristana." The name Tristana is derived from French and Welsh origin and it means sad (in Spanish, we just say "triste" which sounds more exclamatory). It also stars one of the most glamorous women of French cinema ever, Catherine Deneuve, exuding sadness in every movement of her body language, even her graceful walk or when she becomes ill. Whether she is indoors or outdoors (and mostly indoors), her sadness and her mournful state over the loss of her mother in the opening scenes lend much gravitas and humanity to her plight. 

 An old man set in his ways, Don Lope (Fernando Rey), becomes ward to the young, lovely though steadfastly in mourning Tristana (Deneuve) - she wears black and never leaves the house unless under express permission from Don. Don has antiquated thoughts on everything, including women who he believes should stay home and serve him. Tristana abides by him, removing his shoes when he comes home and putting on his slippers though she finds it odd that he keeps them on when his colleagues come over. Tristana is seen as the mistress of the house whereas the maid of the house, Saturna (Dolores Gaos González-Pola), prepares the meals and makes the beds. Of course, the old man still wants to be the playboy of his youth and decides that Tristana is not just a daughter to him, she will become his lover. She doesn't budge yet over time, she leaves the house and hooks up with a male painter, Horacio (Franco Nero) who is more progressive in his attitudes towards women and life. He sees a future with her, and she does...for a while. Tristana also feels disgust over Don for deflowering her.

"Tristana" unveils a portrait of people living under a Catholic umbrella yet still act on their own romantic and sexual instincts. Saturna has a deaf-mute son, Saturno (Jesus Fernandez), who can't hold a job and is attracted to Tristana (in a famous scene, Tristana opens the windows and reveals her body to the young shocked kid). Saturna is the only one that presumably holds on to her faith. Don Lope is simply a sinner, treating a young woman as a sexual object whom he is supposed to treat like a daughter. Tristana eventually frees herself from Don's clutches and lives with Horacio until illness enters both of their lives. Tristana slowly changes, becoming meaner after having a tumor-infected leg amputated and is more inclined to help herself than anyone else. Circumstances also develop where she has fewer choices and you can feel how it chokes her to return to Don Lope. Deneuve shows her nuanced range of emotions in sequences towards the end of the film that are truly spellbinding. She feels free yet compartmentalized by her choosing to marry Don and leave Horacio - it is still her choice and that is what makes her feel free.

Luis Bunuel's "Tristana" is a masterful, morally complex view of a woman seeking to be free by the strictures of religion, faith and antediluvian attitudes towards women. She succeeds at any cost.