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Titled "Abismos de Pasi�n" (literally "Depths of Passion"), the film begins in a rich but deteriorated estate located in the Mexican dessert. It is the house of Eduardo (Ernesto Alonso) and Catalina (Irasema Dili�n), who live there with Eduardo's sister Isabel (Lilia Prado). Not entirely a happy marriage, the wild temperament of Catalina doesn't seem to get along with the quieter, calm personality of Eduardo, whose biggest passion is entomology. Still, there is relative peace at the household, until one day Alejandro (Jorge Mistral) returns. An orphan raised along Catalina and her brother Ricardo (Luis Aceves Casta�eda), Alejandro had ran away tired of being constantly humiliated for his lack of status. Now a wealthy man, Alejandro has returned to buy Ricardo's estate and to see Catalina again. A deep passion exists between Alejandro and Catalina, a passion not unnoticed by Eduardo, who feels threatened by the presence of Alejandro. And this is only the beginning of Alejandro's vengeance.
Like most adaptations of Bront�'s classic, "Abismos de Pasi�n" is focused only on the first half of the novel, though the condensation is far more extreme: it's dedicated only to the events after Alejandro/Heathcliff's return to the estate. Adapted by Bu�uel himself, Arduino Maiuri and Julio Alejandro (in his first collaboration with Bu�uel), "Abismos de Pasi�n" is "Wuthering Heights" stripped to its bare bones, to the core of its passion. The past is only mentioned, the future, merely hinted at, what truly matters in "Abismos de Pasi�n" is the present, in which Alejandro is back and has taken by storm the household of Eduardo/Edgar and Catalina/Catherine. While it could be argued that the script represents only a fraction of the novel, in fact what the writers have achieved is a perfect cinematic summarization of the core themes of "Wuthering Heights". This allows a pretty good development of the characters, not only of the two leads, but also of the microcosm that inhabits the estates.
Perhaps the most striking aspect of Bu�uel's vision of "Wuthering Heights" is how little it's actually changed from Bront�'s novel, and still, it's undoubtedly a Bu�uel film. There's truly a perfect marriage between Bu�el's idiosyncrasies and his profound respect for the source (explicitly stated in a disclaimer at the beginning). The tone Bu�uel conveys is one of depressive decadence, reflected in the stark atmosphere of the Mexican desert. As if it was a limbo, the characters live in the forgotten estate just existing, that is until Alejandro arrives, triggering the passions of both Catalina and Isabel. Without taking sides, Bu�uel presents his characters without any sympathy or or apparent romanticism, showing them as the cruel monsters that they are. This is another aspect in which his "Wuthering Heights" rings true: it's a gathering of wicked people, and nobody, neither rich nor poor is free of sin. As in "L'Age d'Or", the theme here is the destructive force that results from repressed passion.
Unfortunately, it's in the cast's performance where "Abismos de Pasi�n" has its fatal flaw, more specifically, in the lead cast. As written above, Bu�uel had no word in the casting as it was imposed to him, and in fact, perhaps with a little more of time dedicated to work it out the result may had been improved. Unfortunately, one element that Bu�uel rarely enjoyed in his career was time, and it shows. As the capricious Catalina, Irasema DIli�n rings true in intention and presence, and she is indeed a beauty that lights up the darkness of the desert. Unfortunately, the Polish actress is simply unable to hide her heavy accent and ends up lacking verisimilitude as sister of Ricardo and childhood friend of Alejandro (both speaking without accent). As the Heathcliff character, Alejandro, actor Jorge Mistral has some good moments, though he lacks the presence required to carry such a role, and unfortunately, he ends up greatly overshadowed by the supporting cast, who truly rise up to the challenge.
Perhaps not surprisingly, the supporting cast is made up of Bu�uel's regulars (or soon to be regulars): the impossibly beautiful Lilia Prado (of "Subida al Cielo") plays Isabel, Ernesto Alonso (of "Ensayo de un cr�men") is Eduardo, and Luis Aceves Casta�eda (also of "Subida al Cielo") is Ricardo. The three of them are remarkable in their turn, but most particularly Alonso, whom makes a terrific work at making his Eduardo/Edgar a frail effete, in love with Catalina, but unable to match Alejandro's passion. This unevenness in the cast is the Achilles' heel of "Abismos de Pasi�n", as the difference between the lead and the supporting cast is so abysmal that's impossible not to notice it. It's tragic, as it spoils the experience of what could had been one of Bu�uel's most symbolic and visually arresting films. While he keeps faithful to Bront�'s text, visually the movie is full of Bul�uel's touches, from Eduardo's bug collection to Alejandro's servant reciting the darkest passages from the Bible, not to mention the mysterious behavior of Ricardo's mute son Jorge (the Hareton equivalent).
Despite its flaws, Luis Bu�uel achieves in "Abismos de Pasi�n" the movie that perhaps gets closer to Bront�'s spirit in terms of tone and atmosphere. In "Abismos de Pasi�n" Bu�uel seems to understand that Bront�'s novel is not Austen, it's raw, harsh, and cruel. There's wild passionate violence in its words, and Bu�uel manages to translate it to images in a more accurate way that Wyler did in his polished 1939 version. It's for these reasons that it's so tragic that the cast involved has failed in their performance. A weak couple of lead actors and a heavy Polish accent undermine the foundations of what could had been a masterpiece, and leave it as only as a merely good film. Fortunately, a merely good film from Bu�uel is still far more enjoyable than a merely good film from anybody else.
7/10
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