The neo-realist approach of Gavaldón’s cinema is bleak, but his later work, as is the case with Macario, is inflected with the poignant richness of Mexican spirituality, particularly its proximity to death.
An old, cautionary Faustian tale about a peasant faced with worldly temptation. But the insertion of materialism & metaphysics into this world makes for strange bedfellows. Macario's dream of a roasted turkey (& what it means) stands at cross purposes with Nature's order. At the back of Gavaldon's mind: Marx on money, Proudhon on property, diluted with quasi-religion, thus shortchanging its addressee, the workers.