By Gwynne Edwards
Luis Buñuel (1900-1983) was once one of many really nice film-makers of the 20 th century. formed via a repressive Jesuit schooling and a bourgeois relations historical past, he reacted opposed to either, escaped to Paris, and was once quickly embraced by way of André Breton's professional surrealist staff. His early motion pictures are his such a lot competitive and stunning, the cutting of the eyeball in Un Chien andalou (1929) probably the most memorable episodes within the heritage of cinema.
The Forgotten Ones (1950) and He (1952), made in Mexico, have been undefined, from 1960, in Spain and France, by way of the movies for which he's most sensible identified: Viridiana (1961), Belle de jour (1966), Tristana (1970), The Discreet attraction of the Bourgeoisie (1972), and That vague item of Desire (1977).
Gwynne Edwards analyses the movies within the context of Buñuel's own obsessions - intercourse, bourgeois values, and faith - suggesting that the film-maker skilled a level of sexual inhibition fabulous in a surrealist.
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Additional resources for A Companion to Luis Buñuel (Monografías A)
On the contrary, Las Hurdes proclaims itself as a documentary set in the mountainous region of that name in the province of Extremadura, near the Portuguese border to the west, and sixty miles from the university town of Salamanca to the north-east. The film begins in La Alberca, a town outside Las Hurdes, and then proceeds to the valley of Las Batuecas before moving on into Las Hurdes proper and the village of Aceitunilla where we are shown the way of life of its inhabitants and the activities of the children in the schoolroom.
Although nothing in L’Âge d’or matches the shocking opening sequence of Un Chien andalou, it contains many incidents which, in true surrealist fashion, are intended to surprise and disconcert its audience. The beginning of the film, part of a documentary that Buñuel used because he was unable to film the real thing, depicts the activities of scorpions pursuing each other, and a struggle in which a scorpion kills a rat. The images are also accompanied by titles that give out information about these creatures and their habits.
As might have been expected, right-wing reaction to L’Âge d’or was extremely hostile. On the evening of 3 December, Studio 28 was attacked by members of the League of Patriots and the Anti-Semitic League, the latter incensed by the fact that such a subversive film had been financed by Marie Laure de Noailles, whose father was a wealthy American-Jew, the former enraged by the film’s onslaught on the bourgeoisie and traditional values. Shouts of ‘Death to the Jews’ and ‘You’ll soon see if there are still Christians in France’, were accompanied by the throwing of ink at the screen and smoke and stink bombs into the audience, which was also attacked with clubs.
A Companion to Luis Buñuel (Monografías A) by Gwynne Edwards