Belle de Jour (1967)

 

Land Without Bread (Las Hurdes) 1933 *1/2

This 1933 documentary by Luis Bunuel is strange, but not unwatchable. Filmed in a poor region of Spain known as Las Hurdes Altas, this documentary presents the dire conditions faced by the region’s inhabitants through a surrealist lens. Hence, why I found this movie disturbingly strange at times. I just don’t know how one can effectively use surrealism to document the true hardships of a people without violating the documentarian’s unspoken code of neutrality—perhaps Michal Moore is a fan of Bunuel?

The English title of this film is Land Without Bread because bread was nowhere to be found in Las Hurdes—it had to be brought in as a luxury item. Tucked away in a mountainous region, Las Hurdes Altas has poor soil that yields very few crops. The one foodstuff they have an abundance of is honey, and even this isn’t very good—unless, of course, you want to smear a sickly jackass with it and watch bees swarm.

Like in most Bunuel films, the Catholic Church is portrayed as decadent and unmoved by the plight of the poor. Using one of his favorite cinematic tools, juxtaposition, Bunuel goes from depicting malnourished, impoverished people to showcasing the lushness of an abandoned convent.

As a completely isolated region, Las Hurdes Altas suffers from not only bodily starvation but intellectual starvation as well. There are no arts to speak of, and the people practice inbreeding, which in turn contributes to a number of mentally challenged and handicapped people. As I watched Bunuel’s portrayal of these people, I kept asking myself if he could find them why hadn’t the 20th century somehow nudged itself into this horrible place? I suppose that was Bunuel’s point: no one cared if they lived in almost medieval conditions.

I often find it difficult to believe that Bunuel came from a wealthy background. He has an almost searing hatred of everything bourgeois and traditional. In addition, his depiction of his homeland (Spain) is often extremely vitriolic. This, no doubt, contributed to his expatriation under Franco.

Under a half an hour long, Las Hurdes is a disturbing look at a people and region that time forgot. Through shocking images, such as decapitated chickens and countless shots of filth and disease, Bunuel forces his viewer to see, in his words, “hell on earth”.

The Age of Gold (L'âge d'or) 1930 :(((

To say that watching this 1930 film is a surreal experience is an understatement. To say that I hated all 60 minutes of it is an accurate statement. Rich Vicomtes should not give crazy, young Spaniards money and complete freedom to make art that is "exquisite and delicious." There’s a reason the Catholic Church threatened to excommunicate the de Noailles if they distributed this Luis Bunuel film: it’s just too absurdly raw.

Bunuel opens the film as a documentary, using footage from a 1912 film about the habits of scorpions. If only that were what this film was actually about! Bunuel moves from scorpions to chanting archbishops on a beach. Max Ernst plays a starving soldier who witnesses this act and then hurries to tell other starving soldiers that the Mallorcans (a Spanish island) have arrived. Evidently these Mallorcans are enemies, but because the soldiers are suffering from starvation they are too weak to fight. This isn’t good for the archbishops— we later see the Mallorcans laying a monument to celebrate the archbishops’ skeletal remains. Just as this celebration is taking place we hear amorous screams (yes, it is 1930). The couple is arrested, but the man is released after he shows documents revealing he’s a government official—and a real SOB who kicks dogs. The woman is the daughter of a marquis, who throws a crazy party where all kinds of strange (but evidently not noteworthy to the guests) things happen. A gamekeeper shoots his son over nothing but people continue to mingle. Later, the government official arrives and he and the woman get it on, with Wagner’s "Tristan and Isolde" playing in the background, in the garden. Somehow a concert conductor ends up in the arms of this woman and the official gets a phone call telling him that thousands have died because of his actions. He then goes to his apartment and throws an archbishop out a window. The film ends with the announcement that the Duc de Blangis (and Jesus) is to reemerge from a castle after 120 days of debauchery—Pier Paolo Pasolini references should be inserted here, but I didn’t like his film, either.

The film is most remembered for its shocking images, most notably the cow in the bed (see picture), a woman sucking the toe of a statue (image not included because so much could be inferred), and, of course, Jesus as a spent libertine on the castle drawbridge. These are all images I wish were easily forgotten—they are not.

So, what is this film about? Eroticism? Anti-authoritarianism? Anti-Catholicism? Bunuel said it was "a romantic film performed in full Surrealist frenzy." Okay, whatever you say Luis.

An Andalusian Dog (Un Chien Andalou) 1928 :(((

Above you see the French and English titles for this 1928 silent directed by Luis Bunuel and Salvador Dali. However, my personal title for this film is: 16 Minutes of Your Life That You’ll Never Get Back.

Another film class must (at least that’s what the professors think); this surrealist film bombards viewers with a cornucopia of shocking images. Viewers are treated to a woman's eye being cut open with a razor blade; a man with a hole in his hand that is filled with ants, who hauls dead donkeys and live priests in grand pianos; severed hands poked at with canes; and, other nonsensical images.

There is no narrative to this film. The images are random and disconnected from one another. I’m sure more artsy people can identify themes in these images, but I have no desire to figure out which one represents love, lust, life, and death. I am not a Freudian and I have no inclination to use free association to decipher what the hell this film is supposed to represent other than avant-garde filmmaking at its height. It does not shock me that the "stars" of this film later committed suicide—one burned herself to death in a public square—because this film could drive anyone crazy.

This is one film that I could easily have done without seeing before my death.