I’m back to Film Studies, even though the HDTV is on the blink, no longer beholden to its own API (control panel). I have a CRT TV right next to it, a Sony Trinitron. Works great. The same DVD player feeds either display device via three cables (one video, L and R audio).
Don Luis Buñuel has been the focus. I watched The Discreet Charm of The Bourgeoisie, a kind of anthropology translated to a surrealist register. Then I took in the rest of this Criterion Collection two-disc set. This felt like one of those laser-cut exceedingly complex jigsaw puzzle pieces fitting into place, giving more of the picture.
Buñuel grew up with Salvador Dali, the hallmark surrealist; they were good friends, though far from clones of one another. He moved to the USA in hopes of making films in that film-making mecca, but his reputation preceded him in that closed-minded culture and he ended up churning out what we might call TV shows in Mexico (formulaic, mass produced, low budget, relatively). I became a Mexican citizen. Then he made it back to Spain and reestablished his career there, especially around Toledo. He married, had kids, loved making and drinking dry martinis.
I realized I’d seen at least one other of his films already, the one where a lotta people feel trapped indoors, unable to cross some invisible line. Someone at the Quaker meeting had recommended that one. I wonder if I wrote a review of it. I’ll look later.
As for this particular film, it features repeated variations of scenes we’d expect at this tier of society: dinner parties, embassy intrigue, trysts, triangles, drug dealing (via diplomatic pouch), often polite interactions with the police and military, although not without run-ins. Lots of drinking.
Also the occasional murder, most likely a poisoning or by means of a firearm. A lot of the violence takes place in dreams. As the movie progresses, we start to realize it’s pretty surreal, but, per the director’s aesthetic code, not over the top. Don Luis is into deadpanning. He keeps things low key.
What comes through in the tributes from his associates is he was a much loved and treasured guy, somewhat the mischievous rascal from the outside (the impression he gave). I was reminded of the David Lynch tributes, which is not to conflate two very distinct personalities. Lynch was something of a surrealist too, and had a strong eye for what he wanted to capture on film (not an unusual trait in a director).












