Jodorowsky’s El Topo, 45 years after its release, still defines mainstream cinema by being far removed from it. Much has been written about the psychedelic spaghetti western that won John Lennon’s praise, its hero’s bloody pursuit of enlightenment, and the religious symbols and meanings strewn throughout it. I would like to focus on two of the film’s themes that accompany those that deal with man’s quest for meaning and man’s relationship with God – themes that center around human relationships: the first deals with the relationship between man and woman, and the second between father and son.
Both these themes – ‘man-woman’ and ‘father-son’ – make their debut in the first scene, before Jodorowsky even begins to hint of the film’s other themes. A cowboy in shiny black leather pants rides in the dessert with a naked boy sitting in front of him. The nudity and vulnerability of the boy are a sharp contradiction to the man’s protection of himself with (tight black) clothing and arms. The introduction of the ‘father-son’ theme thus opens with a criticism against the father. Soon after the man stops, dismounts his horse, and instructs the naked boy to bury his toy and his photo of his mother. As we wonder about the relationship of the armed man and the boy’s mother, and the absence of the latter, Jodorowsky introduces the ‘man-woman’ theme. Both themes accompany the film till its cataclysmic end, and are constantly intertwined throughout it.
After the man, El Topo, the mole, saves a village and its Franciscan monastery from the notorious colonel and his sodomizing gang of comical bandits (castrating the colonel for good measure), he is confronted by a woman who served as the colonel’s slave. The woman wishes El Topo to take her with him. While El Topo resists at first, he soon surrenders to the woman’s aggressive persistence, and replaces the boy with her, kicking the boy aside as he rides away with the replacement. Alongside the father’s blunt abandonment of the son, the victory of the woman’s will over the man’s, there is a subtle message about the relationship between woman and child: there is no relationship. If we entertained any thought that the woman will take the place of the missing mother that thought is quickly shot dead, as are many of the film’s characters. The woman does not even see the boy.
At the end of a short 1960s-characteristic scene of heavenly and worry-free co-existence of El Topo and the woman, of Adam and Eve, El Topo plays the role of God, transforming bitter water into sweet water, yet nevertheless names the woman ‘Mara’, after the bitterness rather than the sweetness. Indeed, Jodorowsky lets El Topo predict the future, as Mara/Eve soon proceeds to persuade El Topo/Adam to sink his teeth into the forbidden fruit, leading to his exile from heaven and his deterioration from God to man, and occasionally animal. Mara pushes El Topo to seek power and glory by embarking on a fantastical quest to kill the four masters of the dessert. Here lies Jodorowsky’s most explicit message about the ‘man-woman’ relationship: woman is depicted as greedy, pushy, and status-hungry, and man as obedient. In modern irony, while the man is El Topo – the mole, the woman is the gold-digger.
El Topo succumbs and embarks on the fantastical quest to outwit and slay the four dessert masters, each more spiritual than the previous, each more enlightened, and as El Topo plugs them with spaghetti western bullets he gradually destroys the spirit within himself. The murderous couple is accompanied by an odd new character – a ‘woman-man’: a woman who is armed and dressed much like El Topo himself and who speaks in a man’s voice. This is not a message about sexual identity confusion but rather a symbol that the ‘woman-man’ tension exists within each individual as a tension between evil and godly. Indeed, Jodorowsky’s view of woman is not quite a flattering one. Throughout the journey the woman-man tries to win Mara over from El Topo, an attempt colorfully depicted with whippings, cat-fights, and 1960s-ish lesbian scenes. When El Topo finally completes the quest, eradicating the four masters and his spirituality, he is confronted by the woman-man. Lost and empty, he refuses to fight, letting her/him shoot at him as he spreads his arms to take the bullets, bleeds, and staggers, willing to embrace a symbolic Christian death. However, the woman-man lets Mara take the final shot, and Mara does not hesitate long before plugging El Topo and riding away with the new master, while the stupefied, bleeding El Topo pleads at their feet along the horse’s side, much like his own son did when El Topo abandoned him. The two scenes of abandonment are mirror-images of each other, with El Topo once as the father and once as the son, but with Mara always as the evil force that drives the abandonment.
That town, in turn, is used by Jodorowsky to drive home his ‘man-woman’ theme. The town is governed by a group of fat, upper-class, middle-aged women who entertain themselves with gladiatorial contests, male servants, and the executions of the latter. The town as a whole is a depiction of the city of Sodom, where debauchery and murder are routine, and whose inhabitants, at the end of the film and much like those of the original Sodom, are slaughtered by El Topo as he once again assumes the role of God. The town’s priest leads a false religion where Sunday mass is a game of Russian roulette, but he is quickly replaced by a Franciscan monk who seemingly attempts to restore Christianity. When El Topo wishes to marry one of the exiled women in what is a glimpse of hope of redemption for the ‘woman-man’ theme he discovers the monk, and thereby his son. Now father and son switch roles: the son sheds his Franciscan garments and appears armed and tightly tucked in black leather pants, much like his father before him. The son wishes to avenge his abandonment and kill his father, but agrees to let El Topo complete his mission to save the deformed exiles. Thus, El Topo is granted a chance to redeem himself as a father by his own son. Yet, Jodorowsky remains consistent to the undercurrent that drives the film to its terminal end, and redemption is not part of the plan. El Topo frees the exiles, who stampede (as best as they can) back to the town only to be butchered by its fashionable women governors. Jodorowsky now makes woman the murderer of the father’s sons. El Topo, in his godly wrath, slays the women and most of the inhabitants of Sodom before martyrly setting himself on fire.
In El Topo, the human relationships – between father and son and between man and woman – are the forces that drive the hero’s actions, that propel him in his religious pursuit to attain redemption, and that bring about his downfall. Fringe and avant-garde, sickening and mesmerizing, El Topo’s imagery is a reflection Jodorowsky’s view of the most fundamental human relationships.