Caïn (1965) watch online (quality HD 720p)

Date: 07.11.2017

Caïn (1965)

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Plot[ edit ] El Topo is traveling through a desert on horseback with his naked young son, Hijo. They come across a town whose inhabitants have been slaughtered, and El Topo hunts down and kills the perpetrators and their leader, a fat balding Colonel.

Père Molinié - Enregistrements (MP3) - Vie spirituelle

El Topo names the woman Mara, and she convinces him to defeat four great gun masters to become the greatest gunman in the land. Each gun master represents a particular religion or philosophy, and El Topo learns from each of them before instigating a duel.

El Topo is victorious each time, not through superior skill but through trickery or luck. After the first duel, a black-clad woman with a male voice finds the couple and guides them to the remaining gun masters. As he kills each master, El Topo has increasing doubts about his mission, but Mara persuades him to continue. Having killed all four, El Topo is ridden with guilt, destroys his own gun and revisits the places where he killed those masters, finding their graves swarming with bees.

The unnamed woman confronts El Topo and shoots him multiple times in the manner of stigmata. Mara then betrays him and rides off with the woman, while El Topo collapses and is carried away by a group of dwarves and mutants. The outcasts dwell in a system of caves which have been blocked in — the only exit is out of their reach due to their deformities. When El Topo awakens, he is "born again" and decides to help the outcasts escape.

He is able to reach the exit and, together with a dwarf girl who becomes his lover, performs for the depraved cultists of the neighboring town to raise money for dynamite to assist in digging a tunnel on one side of the mountain where the outcasts have effectively been kept imprisoned. Hijo, now a young monk, arrives in the town to be the new priest, but is disgusted by the perverted form of religion the cultists practice — notably symbolized by the frequent display of a basic line drawing of the Eye of Providence , which most likely alludes to its appearance on U.

Hijo grows impatient at the time the project is taking, and begins to work alongside El Topo to hasten the moment when he will kill him. At the point when Hijo is ready to give up on finishing the tunnel, El Topo breaks through into the cave. The tunnel has been completed, but Hijo finds that he cannot bring himself to kill his father. The outcasts come streaming out, but as they enter the town, they are shot down by the cultists.

El Topo helplessly witnesses his community being slaughtered and is shot himself. Ignoring his own wounds, he massacres the cultists, then takes an oil lamp and immolates himself. His girlfriend gives birth at the same time as his death, and she and his son make a grave for his remains. We had never talked to each other.

I knew nothing about her. We went to the desert with two other people: There will be only one take because it will be impossible to repeat.

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Roll the cameras only when I signal you to. I ached for a week. I really raped her.

You see, for me the character is frigid until El Topo rapes her. And she has an orgasm.

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She has an orgasm. She accepts the male sex. She really had that problem. A very, very strong scene. Rather in the manner of Federico Fellini , whose self-conscious conflation of the roles of charlatan and ringmaster of the unconscious Jodorowsky apes, the film is a breathtaking concoction of often striking, but more often ludicrous, images.

The result is a movie that, though it impressed many at the time of its original release, in retrospect is clearly a minor, albeit often very funny work.

Arnold wrote of the film: The meaning of the film is not to be found in the mystical camouflage of the gunfighter-turned-guru-and-martyr for what, one wonders? Evidently self-aggrandizement rather than the well-being of his congregation of the deformed , but in the picturesque horrors and humiliations. Gene Siskel of the Chicago Tribune commented on how the visuals were perceived within the framework of drug culture.

For others, it is enough to make one yawn. He says, "On first blush it might seem no more than a violent surreal fantasy, a work of fabulous but probably deranged imagination. Surreal and crazy it may be, but it is also one realizes the second time through as fully considered and ordered as fine clockwork.