A Companion to Luis Buñuel (Monografías A) by Gwynne Edwards

By Gwynne Edwards

Luis Buñuel (1900-1983) used to be one of many actually nice film-makers of the 20 th century. formed by way of a repressive Jesuit schooling and a bourgeois relations history, he reacted opposed to either, escaped to Paris, and used to be quickly embraced by way of André Breton's legit surrealist crew. His early motion pictures are his such a lot competitive and surprising, the cutting of the eyeball in Un Chien andalou (1929) essentially the most memorable episodes within the historical past of cinema.
The Forgotten Ones (1950) and He (1952), made in Mexico, have been undefined, from 1960, in Spain and France, via the flicks for which he's most sensible identified: Viridiana (1961), Belle de jour (1966), Tristana (1970), The Discreet appeal of the Bourgeoisie (1972), and That vague item of Desire (1977).
Gwynne Edwards analyses the flicks within the context of Buñuel's own obsessions - intercourse, bourgeois values, and faith - suggesting that the film-maker skilled a level of sexual inhibition astonishing in a surrealist.

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Extra info for A Companion to Luis Buñuel (Monografías A)

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In its exaltation of passion, L’Âge d’or is very different from Un Chien andalou, particularly in the sense that its male protagonist reveals not the slightest sign of sexual anxiety. It is, in contrast, a celebration of amour fou, the wild passion championed by the surrealists, even if in the end it is defeated by bourgeois restraints. As Ado Kyrou once observed: Buñuel is the most honest and sincere man that I know. [. ] He has expressed himself, expresses himself and will continue to express himself simply, freely and valiantly.

During the next ten days the Vicomte arranged several more screenings for friends and critics, and, on 22 October, an important private screening at the Cinéma du Panthéon, attended by 300 guests. They included Jean Cocteau, Picasso, Gertrude Stein, André Gide, Alberto Giacometti, George Bataille, Marcel Duchamp and, of course, the ‘official’ surrealists. Buñuel, however, was not present. He returned to Paris a few days later, but he would have been pleased to learn that many of the aristocrats invited to the screening by the Vicomte were so shocked by L’Âge d’or that they left in silence, refusing to thank their host or to attend the reception that followed.

In addition, Buñuel contributed literary pieces and poems to this and other journals, among which the following extract from Palace of Ice (Palacio del hielo), published in Hélix in 1929, provides a fine example of his enthusiastic embracing of modern techniques, and contains 1 See Ultra, 2, no. 23, 1 February 1922. Unless stated otherwise, all translations into English, here and subsequently, are my own. 20 GWYNNE EDWARDS some of the images which would appear in Un Chien andalou in the same year: The puddles formed a decapitated domino of buildings, one of which is the tower described to me in my childhood, with just one window, as high as the eyes of a mother when she leans over the cradle.

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