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The Discreet Charm Of The Bourgeoisie Review


Essential
Bunuel's marvellously surreal satire pokes lacerating fun at the snobby, unflappable French middle class. Shot like a sitcom, it's a snappy look at the ridiculous inequity of Western society, peeling back the veneer of civilisation in a way that's even more timely now than it was in 1972.

Ambassador Acosta (Rey) and three friends (Frankenur, Seyrig and Ogier) arrive at a country house for dinner, but discover that they're a day early. And rescheduling the meal proves rather complicated, as the men are secretly involved in an illicit drug deal, and hosts Alice and Henri (Audran and Cassel) would rather sneak off for sex. The interruptions to their rescheduled meal become increasingly surreal, including a tea room that runs out of tea, a group of soldiers on manoeuvres and a gang of armed thugs.

Continue reading: The Discreet Charm Of The Bourgeoisie Review

The Discreet Charm Of The Bourgeoisie Review


Essential
From the moment his 16-minute Surrealist dirty bomb Un Chien andalou was dropped on an unsuspecting Paris in 1929 until the time of his death in Mexico in 1983, director Luis Buñuel patiently and gleefully held court as cinema's most steadfast, outspoken, and off-handedly inflammatory enemy of "polite" society. He built a career on his contempt for unexamined social mores and the gluttonous, self-righteous civic and religious leaders who perpetuated them, and he wasn't just fooling around. As a representative attack, consider this sequence from his 1930 feature L'Âge d'or: We're informed by intertitle that over the course of a long weekend in a locked mountain chateau, a group of depraved rapists and murderers have been having their way with a bevy of adolescent male and female virgins, whom they then torture and kill. The scene is based on the same Marquis de Sade material that served as the basis for Pier Paolo Pasolini's unconscionable Salò, or The 120 Days of Sodom, the difference being that here Buñuel has thoughtfully included Jesus Christ among the deviants. He is even seen to drag an injured, escaping girl off screen, the assumption being, when she doesn't return, that He has finished her off. Was Paris burning? No, but once word of L'Âge d'or got around, you may rest assured that some of her theaters were.

Buñuel's cheerful blasphemy was, as you can imagine, shocking, but his commitment to relaying narrative through free-associative, non-linear images - his commitment, that is, to the Surrealist creed that raged among Parisian artists - was seen by many to be as grave an affront. Audiences grew hostile, it seems, when, in Buñuel's films, livestock lounged about in the beds of debutantes or miffed gamekeepers shot and killed children to blow off steam. Buñuel, who was a Spaniard, suffered a more concrete hardship when Fascists took power in Madrid in 1938; he eventually settled in Mexico in 1946, returning to Spain in 1961 where General Franco banned his first new film, Viridiana, just as hurriedly as the jury at Cannes awarded it the Palme d'or. And so Buñuel relocated to France, now in his 60s, and at an age when most directors have retired or have long since begun recycling their own material, he entered one of the most fertile periods enjoyed by any filmmaker anywhere. There are masterpieces scattered among Buñuel's French films like confetti, but in his 1972 comedy The Discreet Charm of the Bourgeoisie, one of cinema's most brilliant directors made the most brilliant film of his career.

Continue reading: The Discreet Charm Of The Bourgeoisie Review

The Phantom Of Liberty Review


Good
In 1972, when he was in his 80s, director Luis Buñuel released what is very likely his masterpiece, The Discreet Charm of the Bourgeoisie. The film is a marvel for a lot of reasons, but one of its hallmarks is the constant digressions of its plot; it moves unexpectedly from dream sequence to reality in ever-deepening convolutions, as though Buñuel placed equal weight on our waking and irrational lives. In his next film, 1974's The Phantom of Liberty, he dispensed with plot, as it is traditionally understood, altogether. In this penultimate outing, Buñuel focuses on the role of chance in life, on the free-associative substance of dreams, and on the arbitrariness of social conventions, and he extends that focus to the film's structure itself.

The continuity of The Phantom of Liberty isn't entirely random; the plot moves from one character's set of circumstances to another's, taking the film with it and only rarely returning to previous narrative strands. (Richard Linklater's Slacker is an example of another film - perhaps the only other film - with a vaguely comparable structure.) The Phantom of Liberty begins with the execution of Spanish partisans by Napoleonic troops in Toledo in 1808, an incident memorialized in Goya's famous painting "Third of May." The film, in fact, opens with this image - and it recurs more dependably than any character does - the intended irony being that the partisans were fighting against the greater freedoms that the Napoleonic Code afforded, and thus against liberty. Among the French troops is a captain whom we follow into a cathedral; there he makes sexual advances on the statue of a certain Dona Elvira, whose body rests beneath the cathedral floor, until he is assaulted by the statue of her late husband, which kneels next to hers. To this point the film has been narrated, and here the scene shifts to a nanny in contemporary times who is reading the captain's tale out loud in a park. As she reads, the young girls in her charge are approached by a shifty man who offers to show the girls some photos, warning that no grown-ups are to see them. We then meet the father of one of the girls ("I'm sick of symmetry," he announces while handling a display box containing a giant spider); he and his wife are outraged when shown the photos, and later the man's sleep is haunted by a mailman, who delivers a letter to his bed, and what I took to be an ostrich sauntering casually through the room. The following day this man's doctor explains that he's not interested in his patients' dreams, but the man insists that he wasn't dreaming and offers the letter he received as proof.

Continue reading: The Phantom Of Liberty Review

The Discreet Charm Of The Bourgeoisie Review


Essential
From the moment his 16-minute Surrealist dirty bomb Un Chien andalou was dropped on an unsuspecting Paris in 1929 until the time of his death in Mexico in 1983, director Luis Buñuel patiently and gleefully held court as cinema's most steadfast, outspoken, and off-handedly inflammatory enemy of "polite" society. He built a career on his contempt for unexamined social mores and the gluttonous, self-righteous civic and religious leaders who perpetuated them, and he wasn't just fooling around. As a representative attack, consider this sequence from his 1930 feature L'Âge d'or: We're informed by intertitle that over the course of a long weekend in a locked mountain chateau, a group of depraved rapists and murderers have been having their way with a bevy of adolescent male and female virgins, whom they then torture and kill. The scene is based on the same Marquis de Sade material that served as the basis for Pier Paolo Pasolini's unconscionable Salò, or The 120 Days of Sodom, the difference being that here Buñuel has thoughtfully included Jesus Christ among the deviants. He is even seen to drag an injured, escaping girl off screen, the assumption being, when she doesn't return, that He has finished her off. Was Paris burning? No, but once word of L'Âge d'or got around, you may rest assured that some of her theaters were.

Buñuel's cheerful blasphemy was, as you can imagine, shocking, but his commitment to relaying narrative through free-associative, non-linear images - his commitment, that is, to the Surrealist creed that raged among Parisian artists - was seen by many to be as grave an affront. Audiences grew hostile, it seems, when, in Buñuel's films, livestock lounged about in the beds of debutantes or miffed gamekeepers shot and killed children to blow off steam. Buñuel, who was a Spaniard, suffered a more concrete hardship when Fascists took power in Madrid in 1938; he eventually settled in Mexico in 1946, returning to Spain in 1961 where General Franco banned his first new film, Viridiana, just as hurriedly as the jury at Cannes awarded it the Palme d'or. And so Buñuel relocated to France, now in his 60s, and at an age when most directors have retired or have long since begun recycling their own material, he entered one of the most fertile periods enjoyed by any filmmaker anywhere. There are masterpieces scattered among Buñuel's French films like confetti, but in his 1972 comedy The Discreet Charm of the Bourgeoisie, one of cinema's most brilliant directors made the most brilliant film of his career.

Continue reading: The Discreet Charm Of The Bourgeoisie Review

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The Discreet Charm of the Bourgeoisie Movie Review

The Discreet Charm of the Bourgeoisie Movie Review

Bunuel's marvellously surreal satire pokes lacerating fun at the snobby, unflappable French middle class. Shot...

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