Fernando Arrabal (Terán), co-founder of the early 60s, founded Panic Movement with Alejandro Jodorowsky and Roland Topor writer, theater artist, performer, lyricist and even film-makers, created in his film debut VIVA LA MUERTE a surrealistic-embroidered film excess over (s) a child at times of the English Civil War. A childhood that the absence of the father, a strict Catholic upbringing, the suppression of own awakening sexuality and marked by a life under the fascist Franco regime. Fando, the boy learns then Duch coincidence that the father, a Communist and Freedom fighter's from the woman, as was shown by Fandos mother, which led to his abduction. Then he begins to rebel against his bigoted environment ...
The film, which really does not evolve along a continuous story arc, is an explosion of images. Various techniques of alienation are used to create impressive surrealistic, distorted, colored scenes, which slide over again, even the plot and the narration interrupted in the film. There are also quite scenes that seemingly have nothing to do next with the issue, and only to one, as religious or psychological interpretation, much of their symbolism played, will dissolve and can integrate. Also performative scenes as known from the works of the cosmos of the Vienna activism of a gasoline Mühl knows, filled with sexualized scenes of violence, slaughter and animal sacrifice, have their place in the film - and there is hardly any text to the work that is not on de Sade and Artaud received.
If one has therefore seen only once in the motives of childhood / sexuality / Trauma / military / religion, then the images are likely, despite their alienation and strong suggestive power is not too heavy on the contrast of freedom vs. oppression, sexuality vs. abuse, love vs. hate, reality vs. illusion, potency vs castration, etc. decipher and break down with the appropriate commitment to assign them. Whether this is its meaning, however, I doubt it. This film, which sabotaged constantly by his surreal sequences of his action running acts, by its very openness, and sometimes difficult to unbearable drastic force reactions from the audience, raises the old mill on the brain, and tears him from every conceivable contemplatio out at any time with ease. The film asks, is an assault on the senses and is far beyond a fluffy art-house cinemas, the oh so diligently maintains the educated classes with his sweet pain, while the new floor space to keep the temperature constant languorous.
fact that the film in the broadest sense not "fun" does should be obvious. But that is not here also - it is about an artistic vision to fractures, place in a work of art expression (and also the socio-political explosive power that you can perceive here) and the strong fascination, the attraction that they posed. The one whose viewing habits are not fully move on the tracks of the commercial culture industry should not miss this film. And all the other anyway.
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