The Young and the Damned (1950)
Directed by Luis Buñuel
A group of juvenile delinquents live a violent life in the infamous slums of Mexico City; among them Pedro, whose morality is gradually corrupted and destroyed by the others.
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What critics compared The Young and the Damned to
I was prepared to see something akin to Hector Babenco's "Pixote" or Luis Bunuel's "Los Olvidados", but was disappointed to discover that the film had more in common with Quentin Tarentino.
Age-wise, some of the killers are in the mid-single digits, but City of God isn’t played as a tragedy of lost youth, like Los Olvidados (1950) or Pixote (1981).
The filmmakers also texture the narrative with the same gritty documentary feel that Bunuel achieves in his devastating Los Olvidados by using many non-actors from the actual City of God neighborhood with hand held cameras while effectively incorporating better aspects of Tarantino's Pulp Fiction narrative structure.
A triptych of stories of dog owners set in a Mexico City that makes the metropolis of Luis Buñuel�s Los olvidados look quaint, Amores opens in medias mess as a car containing two fleeing youths and a bleeding rottweiler collides with another containing a model and her pampered Lhasa apso.
Give me the less pat Los Olvidados instead, but this pumped telenovela is very much the film Kieślowski would have made had he followed Buñuel's lead and voyaged to Mexico.
…delinquency Los Olvidados/The Young and the Damned rather than to earlier…
Hector Babenco's Pixote has as its antecedents such works as Jean Vigo's Zéro de Conduite (1933), Vittorio De Sica's Shoeshine (1946), Luis Buñuel's Los Olvidados (1950), and François Truffaut's The 400 Blows (1959); the gun-toting youth of Barbet Schroeder's Our Lady of the Assassins (2000) would certainly have been influenced by Pixote.
Así como Buñuel presentaba la versión del submundo de los pobres en Los Olvidados, Bong Joon Ho va un poco más allá para personalizar su respuesta en manos de una familia que merece más que el reconocimiento y el dinero.
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This may well sound like depressing stuff, an update of Luis Bunuel’s shocking Los Olvidados, which it occasionally resembles.
Imagine a Sunshine State riff on “Los Olvidados” or “Bicycle Thieves,” slathered in sherbet hues and sprinkled with Pop Rocks, and you’ll get some sense of the strange, sun-scorched beauty of Baker’s accomplishment.