By Gwynne Edwards
Luis Buñuel (1900-1983) was once one of many really nice film-makers of the 20th century. formed via a repressive Jesuit schooling and a bourgeois family members heritage, he reacted opposed to either, escaped to Paris, and was once quickly embraced by means of André Breton's professional surrealist team. His early movies are his so much competitive and stunning, the cutting of the eyeball in Un Chien andalou (1929) probably 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 means of the movies for which he's top identified: Viridiana (1961), Belle de jour (1966), Tristana (1970), The Discreet attraction 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 wonderful in a surrealist.
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Additional resources for A Companion to Luis Buñuel (Monografías A)
5 4 For Buñuel’s reaction to Love of Don Perlimplín, see My Last Breath, 101. The letter to José Bello was dated 14 September 1928, and is quoted in Luis Buñuel: Obra literaria, ed. Agustín Sánchez Vidal (Zaragoza: Ediciones de Heraldo de Aragón, 1982), 30 [hereafter Sánchez Vidal]. 5 See Luis Buñuel, Mi último suspiro (Barcelona: Plaza y Janes, 1982), 86. This observation does not appear in My Last Breath. BUÑUEL AND THE SURREALISTS 23 Nevertheless, as we have seen, the avant-garde movements with which he was familiar and with which he identified both during his time at the Residencia de Estudiantes and in the early Paris years, contained many of the elements – irrationality, shock, subversion – that were part of the surrealist movement, and Buñuel, like many others, was clearly in tune with the general thrust of Surrealism if not yet with the ‘official’ movement as it developed in Paris: More than anything else, surrealism was a kind of call heard by certain people everywhere – in the United States, in Germany, Spain, Yugoslavia – who, unknown to each other, were already practicing instinctive forms of irrational expression.
This effect is continued when the titles give way to a map – firstly of Europe, then of Spain, and then of the region including Las Hurdes – and the voice-over enlarges on the information provided by the titles, and now subtly changes the second person ‘you’ of the opening titles to the more familiar ‘we’, thereby ensuring that, as we watch the journey unfold, we are indeed fellow travellers: Before we reach Las Hurdes, we have to pass through La Alberca, a relatively rich town, feudal in character, and which greatly influences life in Las Hurdes, whose inhabitants are for the most part its dependants.
Even the poems I’d published in Spain before I’d heard of the surrealist movement were responses to that call which eventually brought us together in Paris. (Buñuel, 105) André Breton’s Manifesto of Surrealism, defining the movement, had appeared in 1924, and it seems clear enough that from around 1927 Dalí, to whom Buñuel was drawing ever closer, was becoming increasingly conscious of Surrealism’s importance to his life and work. Despite Buñuel’s claim that he had little interest in Surrealism, it was inevitable, then, that he would have been influenced by Dalí’s thinking.