An excellent film and I've enjoyed the comments and observations.
There's really not a lot I can add that hasn't already been written other than the following:
For the most part, I don't see how the ending of this film can be classified as either being 'over-the-top' or as a 'deus ex machina'. I simply see it as the logical function of the analytical geometry motif Bardem employs throughout the film.
Remember, Juan is an assistant professor of Analytical geometry and Bardem finds a number of ways to reinforce the idea throughout this fine crafted 1955 Spanish B&W film.
In the opening scene we see a lone cyclist ride away from us and, essentially, out of the frame, but he never really leaves the film as he provides both a question and an answer to some of the many riddles this film presents to us.
Early on, we see a mathematical formulation written on blackboard which shows a completed, albeit, circular construction: it is a wrong that is eventually righted, but, as in life, there is a cost attached.
The music itself has a certain geometry and it too plays a role in the film. I may be wrong here but I don't recall Rafa ever completing an entire piece of music while at the piano.
Juan eventually realizes his mistake (thanks in part to the incident set in motion by the blackboard scene) and wants to do what he thinks is the right thing by trying to correct the mistake, but there are just too many outside factors at play here for his solution to work.
However, the geometrical motif is eventually completed - in its own ironic fashion - at the end of the film when the bicyclist apparently does the right thing and reports the accident.
So,with that in mind, I think the ending is appropriate. Please note that I'm not saying that its the right ending or even the wrong one, just that its appropriate.
But, if I've learned anything from watching Film Noir (and I'm not saying this is one -- although it does has a number of similar elements) sometimes you just have to let the idea of a clean & tidy plot go and allow the story find its own way home.
Besides, there are just too many other great cinematic elements going on here - lighting, camera angles, acting, atmosphere - to enjoy rather than wondering whether or not the plot will be wrapped up in a nice pretty bow at the end.
Symbolism plays a major role here as well: angular barren trees at the scene of the initial accident, athletes being timed while running around a circular track along with the ritualized marriage ceremony and funeral service -- which, in and by themselves, can be seen as a form of circular geometry as well. And, of course, there is the central issue of political allegory, but that's been discussed already.
Sometimes, thanks to Hollywood, I think we tend to expect a story to have a 'neat and tidy' conclusion. As for me, I enjoy movies that are like life: because, to my way of thinking, I can't imagine all my big questions will get answered when my 'movie' ends either.
peace,
David
"One thing led to another and then he led with his left"
~ The Dark Corner ~
There's really not a lot I can add that hasn't already been written other than the following:
For the most part, I don't see how the ending of this film can be classified as either being 'over-the-top' or as a 'deus ex machina'. I simply see it as the logical function of the analytical geometry motif Bardem employs throughout the film.
Remember, Juan is an assistant professor of Analytical geometry and Bardem finds a number of ways to reinforce the idea throughout this fine crafted 1955 Spanish B&W film.
In the opening scene we see a lone cyclist ride away from us and, essentially, out of the frame, but he never really leaves the film as he provides both a question and an answer to some of the many riddles this film presents to us.
Early on, we see a mathematical formulation written on blackboard which shows a completed, albeit, circular construction: it is a wrong that is eventually righted, but, as in life, there is a cost attached.
The music itself has a certain geometry and it too plays a role in the film. I may be wrong here but I don't recall Rafa ever completing an entire piece of music while at the piano.
Juan eventually realizes his mistake (thanks in part to the incident set in motion by the blackboard scene) and wants to do what he thinks is the right thing by trying to correct the mistake, but there are just too many outside factors at play here for his solution to work.
However, the geometrical motif is eventually completed - in its own ironic fashion - at the end of the film when the bicyclist apparently does the right thing and reports the accident.
So,with that in mind, I think the ending is appropriate. Please note that I'm not saying that its the right ending or even the wrong one, just that its appropriate.
But, if I've learned anything from watching Film Noir (and I'm not saying this is one -- although it does has a number of similar elements) sometimes you just have to let the idea of a clean & tidy plot go and allow the story find its own way home.
Besides, there are just too many other great cinematic elements going on here - lighting, camera angles, acting, atmosphere - to enjoy rather than wondering whether or not the plot will be wrapped up in a nice pretty bow at the end.
Symbolism plays a major role here as well: angular barren trees at the scene of the initial accident, athletes being timed while running around a circular track along with the ritualized marriage ceremony and funeral service -- which, in and by themselves, can be seen as a form of circular geometry as well. And, of course, there is the central issue of political allegory, but that's been discussed already.
Sometimes, thanks to Hollywood, I think we tend to expect a story to have a 'neat and tidy' conclusion. As for me, I enjoy movies that are like life: because, to my way of thinking, I can't imagine all my big questions will get answered when my 'movie' ends either.
peace,
David
"One thing led to another and then he led with his left"
~ The Dark Corner ~