Of course, Jorge slowly tries to seduce both Ramona and Viridiana, but only succeeds with the maid. Then, as she and Jorge go off for a day to a lawyer’s office, the indigents take over the main house, have a feast, and then do lewd and perverse things. The most "shocking" was having the poor line up in a mock Last Supper pose as one woman flashes her gonads at them. Yet, the whole image is forced, in the extreme, and therefore not nearly as effective as a similar scene in Robert Altman’s M*A*S*H, where a Last Supper pose was struck, nor is it even as effective as a similar sequence in Federico Fellini’s Variety Lights (Luci Del Varietà), where indigent performers spend a night in a manse.

As said, however, unless one is a religious fanatic the shock value passes quickly, if it even registers nowadays. When a couple of the indigents fuck behind a sofa the blind poor man goes wild. Of course, Viridiana and Jorge return right then, and while most of the indigents leave, two of them attack and knock out Jorge, and tie him up. Then they grab Viridiana and try to rape her. As one of them puts her down on the bed, Jorge bribes the one with leprosy to kill the would-be rapist. He does, the police come, and order is restored.

The film ends with the home modernized, and Ramona in Jorge’s bedroom. Viridiana enters, Jorge opines that he always knew he would end up shuffling the deck with his cousin (an old and blatantly obvious slang for sex), and the three of them play cards to the rockabilly tune "Shake Your Cares Away" — a none too subtle suggestion that, after having gotten through two attempted rapes, the ex-nun is ready to become her cousin’s lover, and possibly engage in a ménage-a-trois.

This very unintriguing story arc is made worse by its execution, which suffers from anomie and banality, the use of non-professional actors, and poor plot pacing. In films by Japanese filmmaker Yasujiro Ozu, ellipses are effectively used because he suffuses the viewer with pedestrian and symbolic moments of import that play off of each other, whereas Buñuel leaves gaping plot holes in his hour and a half long film that do not invite a viewer to draw obvious conclusions.

As example, what happens to make Viridiana change her mind about her uncle in a few short days, and what prompts her opening of a hostel? Since the answers are not obvious, yet have obvious bearing on major plot elements, their absence is a sign of poor writing, not narrative economy. Plus there is not a single original character in the film. Unlike, say, Maria in The Sound Of Music, Viridiana’s expulsion from the nunnery elicits a ho-hum reaction, and her character is not nearly as realistic as Julie Andrews' famed character. That’s truly something since Maria regularly breaks out into song!