This Movie Can Only Be Described With One Word.

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

This is a dark and sometimes deeply uncomfortable drama

It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

I have often cited this as my favourite Bunuel film and one of my favourite films of all. Watching it again after a period of some years, I am surprised that it seems so light and amusing instead of dark and dangerous. I suppose this is partly because when first seen the misogyny, the gleefulness at the prospect of killing a woman, is so shocking, that we notice less the playfulness. Whereas on a subsequent viewing we are less affected, having some idea how things pan out. Is this the only Bunuel film with a seemingly happy ending? There are still, of course, many shocking moments, like the bloody/sexy death of the woman looking after him as a child, the whole business concerning the mannequins (that seems burned in my memory for ever) and the most surprising early death of the nun/nurse. Maybe it's partly that when I watched this in my youth I rightly saw it as stunningly original and displaying conduct contrary to that shown elsewhere, whereas now the old cynic in me has been exposed to much more and is smiling throughout with barely a pause for a gasp. Always going to be fun to watch though.

I disagree with another reviewer who said this movie is not interesting to watch. I've seen Los Olivados, El Angel Exterminador, L'Age D'Or and Un Chien Andalou and i thought Archibaldo matched up well alongside them. I found it both interesting/sensual/compelling and with interesting meaning."The Criminal Life of Archibaldo de la Cruz" begins with a childhood memory of Archibaldo's governess making up a myth about Archibaldo's new music box, to distract him from misbehaving: "The King compelled (his Queen) to look at him, but she lowered her eyes, and the King took it as a sign of guilt. Without a second thought he opened up the little music box and immediately the queen was struck dead." As she is telling this story, and gets to the part of the Queen looking down, Archibaldo's governess looks down. Once she finishes, she hears gunfire outside (there is a revolution going on), and goes to the window to look at it. Archibaldo immediately desires to open the music box, with his governess in mind, and at that same moment a stray bullet from the fighting in the street breaks through the window and kills the governess.We cut to Archibaldo telling this story to a Nun, who dismisses his childhood memory, "I think you like to pass yourself off as being wicked." She leaves the room, and Archibaldo retrieves a flick-knife from his drawer. When she returns, he is standing by the door.Archibaldo: You always want to be in the good graces of god? Well, then, wouldn't you be glad to die since it means eternal bliss? Nun: Of course... but why? Archibaldo: (pause) I'll give you that joy.Archibaldo de la Cruz is a fascinating look into the meaning of the label "criminal." I believe you need to go into a Bunuel movie not having heard too much about it, to get full enjoyment out of it, so i won't say anything else, just commend it to you. If you've never seen a Bunuel movie, i would start with El Angel Exterminador, then you'll be hooked and won't be able to keep from checking this and others out.

You can go through Ensayo de un crimen looking for symbolism and satirical details about bourgeois life. Ok but the movie itself is not really gripping.Worst of all the narration is poorly handled. The smooth Buñuel style only works when the script is witty enough to keep you brisk with every single line and every single move. Example: El Angel exterminador (1962) keeps you awake, caring for a dozen characters and not having time to think it over.The criminal life of Archibald de la Cruz can be divided in three parts depicting three criminal cases told by Archibald himself. The way they are interlaced does not help to keep a strong interest in the 'hero'. Everything is quite monotonous. It's Archibald's life ? Then why tell his life? Mixing scarce manic criminal attitudes with the life of a dull dandy does not make a tasty cocktail. Él (1952) had already the same narrative weakness but there were two main characters. Here nothing really goes on the side of fantasy and the settings are not great.Personally I made do with the ideas/images Hitchcock might have taken from this fellow jesuit-ed schoolboy.

(Spoilers) Misogynistic, yet emasculating serio-comedy from the great Buñuel. I have just seen this one for the second time, and enjoyed it even more than before. Although it has misogynistic implications (actually rather more explicit than implicit), the fact that Archibaldo (perfectly played by Ernesto Alonso)never does succeed in carrying out his daydreams of harm to the various women in his life, this fact emasculates his character. The women are not victorious, however, for for every Archie and his failed attempts, the ladies all suffer at the hands of the other men in their lives. Therefore, the misogyny prevails.I was a bit offended by this film the first time around (when I saw it about 3 years ago), but having seen more of Buñuel's work and more films, both foreign and domestic (US)) of its ilk since, I decided to give it another chance, and am glad that I did. The movie's ironic nature saves it from being too cruel to enjoy. That and the fact that, after the talk with the doctor, Archibaldo seems to reform at the film's end, drowning (in effect burying or suppressing) the music box (the symbol of his deranged desires, and the object to which he attributes dominance, power and virility), throwing away his cane (another crutch), and walking off with Lavinia, who seemed to make him happiest during the film (as opposed to the other women).The characters of Particia and Carlota (and Lavinia, to a slightly lesser extent) are seen as shrewish and scheming – they certainly all have their own agendas and never come across as wholly innocent – which lends feelings of sympathy towards Archibaldo (who is being used by all of them).Themes of Catholicism pervade the film, although not in a heavy-handed way. The symbolism, typical of Buñuel, was strong and put to good use, i.e.: the mannequin (represents Lavinia), the music box (see above), the straight razor (a phallic symbol and violence), the cane (a `crutch'), the pottery wheel (goes around and around and no way out, representing Archie's situation), the flaming drink (foreshadows his fantasy for Lavinia), her tour guide/interpreters job (language barrier miscommunication/repression of the true feelings of the characters).It is interesting to note that Alejandro, the married man with whom Carlota is having an affair, is often addressed as `Architect' instead of by his name. An architect creates and builds, whereas his character destroys – another great touch in a movie full of them.Some thoughts: 1) How long will Archie's reformation last – if it is genuine at all? 2) I felt sorry for Archie for not being able to actually carry out one of his dastardly fantasies – instead, in each case, he was `saved' by circumstance. This was surely the filmmakers' intent. Well, it worked! 3) Archie is guilty, in his mind, of actually committing the crimes – hence his `confession' to the doctor. This is why he throws the music box (he thought it was partially responsible) in the pond. Good character development/insight into his psyche. 4) I think the writer(s) and director did a an excellent job of conveying to us Archie's early life at home with his mother (who didn't seem to care about him), the hated Nanny (whose death started the chain of events), and the (absent) father. In including this glimpse of his early life, we gain a better understanding of Archie's character (his up-bringing plus this event) and can perhaps conclude that these may be contributing factors to why he did what he did/why he was who he was.RECOMMENDED!