Simon the deierto is a medium length of Luis Buñuel . Lasts 46 minutes and is an unfinished work of genius Calanda. What more can you say about this historical comedy. Well, it depicts the story of Simon, a fourth-century ascetic who, like Jesus Christ revived hopes to be worthy of God by following a path of prayer and fasting. What surrounds the light, is an entourage of monks who worship him and a few people (notable are the old pastor and a taciturn dwarf). In between all this comic situations arise based on religious prejudice and confrontation to live assuming God protocol. The best of the film, unclassifiable for all all is to see Silvia Pinal the role of Satan, tempting variety of ways (very curious all) to Simon. 
What lies beneath this work. Then in 1965 he was a genius Buñuel unparalleled recognized everywhere least in Spain. After its initial French Surrealist phase, and later Mexican period, which would be extended many years, Buñuel began to roll from the mid-50 halfway between the two countries, signing works for the French production and the Mexican National Studies. No one can speak of a decline in his work, since a few years then come Belle de Jour, The Milky Way or The Discreet Charm of the Bourgeoisie. Silvia Pinal
me in love with this movie. Choose a woman like her to embody the devil, and do it like a schoolgirl with garters, Shepherd (not pastor) with a beard (and shoot a sheep as in The Golden Age, a dog!) or out of a coffin that comes crawling alone, showing that breast babe Daphne is priceless.
sense of humor is incredible Buñuel. His hatred for the Church is so visceral and so argued verging on the obvious. Speaks of praxis and asceticism, laughs at his dogmas, and like Nietzsche in The Antichrist, tells us that Catholicism is the antithesis of life, a search for unhappiness.
Simon, through his thoughts, points out his carnal existence, his wishes for happiness, and conscious denial comes to show the stupidity of religion. A faith based on denial that incomprehensibly success among the masses.
With a shocking final where he paints a hell sixties appears incredible reflection on life and pleasure, and Simon is portrayed in the figure of another man, who smokes a pipe, and where Claudio Brook , As his alter ego ascetic, he disdains the fun and happiness.