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 through a repressive Jesuit schooling and a bourgeois relations history, he reacted opposed to either, escaped to Paris, and used to be quickly embraced through André Breton's respectable surrealist team. His early movies are his so much competitive and stunning, the cutting of the eyeball in Un Chien andalou (1929) essentially the most memorable episodes within the background 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 flicks for which he's most sensible identified: Viridiana (1961), Belle de jour (1966), Tristana (1970), The Discreet allure 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 magnificent in a surrealist.

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A Companion to Luis Buñuel (Monografías A)

Luis Buñuel (1900-1983) was once one of many really nice film-makers of the 20 th century. formed through a repressive Jesuit schooling and a bourgeois family members historical past, he reacted opposed to either, escaped to Paris, and used to be quickly embraced by means of André Breton's legitimate surrealist staff. His early movies are his so much competitive and surprising, the cutting of the eyeball in Un Chien andalou (1929) essentially the most memorable episodes within the historical past of cinema.

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

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Between 1927 and 1932 Buñuel’s personal contribution consisted of eight articles, all of which reveal his fascination with such new techniques as slow motion, dissolves, superimpositions and, above all, with cinema as the new poetry. 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.

It was a project typical of the mocking Buñuel. By 1928 his iconoclastic stance was also being fuelled by his ever closer association with Salvador Dalí, himself increasingly intolerant of everything he regarded as traditional. Although both Dalí and Buñuel were close friends of Lorca – in later life Buñuel would describe him as the finest human being he ever met – Buñuel had earlier told Lorca to his face that he regarded his play, Love of Don Perlimplín (Amor de Don Perlimplín), as ‘a piece of shit’, while in a letter to José Bello in 1928, he derided Lorca’s very successful volume of poetry, Gypsy Ballads (Romancero gitano), for its traditionalism: 3 See Francisco Aranda, Luis Buñuel: A Critical Biography, trans.

Their final choice, Un Chien andalou, had a similar purpose, for, far from having any obvious relevance to the film, it was taken from the title – Le Chien andalou – of an unpublished collection of poems by Buñuel. 6 If Un Chien andalou was intended to disconcert in general, it may also be seen as an extension of the attacks that Buñuel in particular had earlier made on Lorca. In the first place, Andalusians at the Residencia de Estudiantes – and Lorca was by far the best known – were jokingly alluded to as ‘Andalusian dogs’ (‘perros andaluces’).

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