Andres-Camara I watch this movie for the second time in my life. I saw her when I was a child and I see her now as an elderly person, when I am poor, without work, I have nothing and yet I feel offended by the way in which the different social strata are shown.That there will always be social strata is a sad truth, but to be drawn like this seems an insult to intelligence. To say that all the rich are pigs, inhuman, badly born, etc. I think of a cynicism of the nineteenth century, as well as saying that all the poor are like puts them in the film seems another ridiculous.As a movie I think a great movie but the falsehoods and insults to the intelligence I do not like. Like at any moment in life there are good and bad people but they could already have put some good rich and some poor with bad milk. This putting stereotypes seems to me as bad as instilling bad education to people.Spoiler: When I saw this movie for the first time, my father, who had lived with people working in his home all his life, felt very insulted. The moment Landa kneels and smells the ground, even me who was small was strange to me, my father offended. I know rich people today and I can say they are the most educated and respectful people I know.The film all have to say it seems very good, as a film, but also must be said that Spanish cinema, sadly has always been used to make politics, pamphlet, to one side, never mess with the other side, as if they do In U.S.A. But of course they do not depend on the subsidy

randy filkirk Having traveled extensively throughout Spain this film evokes memories and images from a long lost Spain and a time which although still exists, now is much diluted. Every aspect of this, at some points sleepy, film are for me very real. The acting is superb, and the filmed scenes carefully and accurately depicted. I have never read the book, but having seen this i will now scout for it. I had no idea the cork oaks were used for such purpose and the pomp and circumstance was also an eye opener/ i gave 7 out of 10,but 10 out of 10 for effort, from both the acting cast and the direction. These places do exists still today, and are still owned by the landed gentry, very much fenced off and off limits to the rest of us as you pass through such regions. I often wonder if they still employ people and treat them the same......

ksandness In the opening scenes of this movie, I couldn't tell what century it was. The peasant family living in their hovel with no electricity or running water and their subservient attitude toward the master made me wonder if this movie was taking place in the 19th century. But no, a car appeared, a model from the 1960s, so I knew that it took place in relatively recent times.Filmed in muted, grayish tones reminiscent of a Goya painting, this film gives one an idea of what life must have been like, not only for Spanish peasants in the Franco era but also for medieval serfs and slaves in the pre-Civil War South. The master and mistress treat their own whims as more important than the peasants' needs, require them to act and speak in a subservient manner, act as if small favors are huge concessions (The family gets to move into a house with electricity!), and literally treat the men of the family as if they were hunting dogs, forcing them to fetch the game that the master spends an inordinate amount of time shooting. In one case, a man is forced to fetch while trying to recover from a broken leg. When foreign visitors criticize the master and mistress for their treatment of the peasants, they make a big show of demonstrating that the peasants are happy and can write their own names (but only because they have just been taught).But the world is changing, and even the meekest peasant may reach his limit...Unfortunately, this film has never been released on DVD for Region 1, and the Region 2 version is out of print, so few people will be able to see this brutal but fascinating glimpse of the twilight of an era when Spanish society was composed of countless little dictatorships.

Keith F. Hatcher The last twenty five years of Spanish filmography have produced a number of titles which have indulged in sociological themes, mostly using the years of the Franco Régime as a background when not a mere scapegoat. El Sur (Victor Erice)(qv), Las Ratas (Giménez Rico)(qv), Las Bicicletas son para el Verano (Jaime Chávarri) as well as several by the now deceased Pilar Miró, come to mind. But perhaps none reach the powerful endorsement achieved in Los Santos Inocentes, carefully and predictably directed by Mario Camus. Faithfully transferred from the book by Miguel Delibes, also author of Las Ratas, as well as singularly impressive narratives such as Cinco Horas con Mario, a true tour de force in contemporary literature, and the intensely lyrical and moving El Camino, Camus inspired the principal actors - Paco Rabal, Alfredo Landa and Terele Pávez - into producing some memorable scenes.Scenes of illiterate peasants obeying their master, landowner, insensible to everything except his passion for hunting; peasants who were so hugely grateful for the handful of pennies so compassionately handed out by the rich duchess; peasants who grovelled in the filth of their mean shack and could barely write their own names. Spain: about 1962 if the registration number of the big black Mercedes is anything to go by. Spain, in the region called Extremadura, which even today is the poorest part of the country. Spain, governed by a dictator who himself was extremely uncultured. Camus, armed with the simple but sincere exposition in Delibes' novel, manages to show this plight, but without the tremendism so frequent in Spanish books or films; without any soured feelings, but dispassionately, like a surgeon operating for the five hundredth time on gall-stones. The story was there to be told and not sympathized over. Not for the pop-corn eating public, more for the discerning cinema-goer who can give what the film demands: attention to details. The incision is precise, exact, giving greater credibility to this little masterpiece.