A surrealist tale of a man and a woman passionately in love with one another, but their attempts to consummate that passion are constantly thwarted by their families, the Church, and bourgeois society.
A surrealistic documentary portrait of the region of Las Hurdes, a remote region of Spain where civilisation has barely developed, showing how the local peasants try to survive without even the most basic utilities and skills.
This surrealist film consists of a series of only vaguely related episodes, most famously the dinner party scene in which people sit on lavatories round a dinner table, occasionally ... See full summary »
When the young woman Tristana's mother dies, she is entrusted to the guardianship of the well-respected though old Don Lope. Don Lope is well-liked and well-known because of his honorable ... See full summary »
Bunuel's first feature has more of a plot than Un Chien Andalou (1929), but it's still a pure Surrealist film, so this is only a vague outline. A man and a woman are passionately in love with one another, but their attempts to consummate that passion are constantly thwarted, by their families, the Church and bourgeois society. Written by
Michael Brooke <email@example.com>
The end sequence is introduced as "120 days of depraved acts" that took place at the Duke of Blangis' castle, an allusion to the Marquis de Sade's novel "120 Days of Sodom," which was later used as the basis for Pier Paolo Pasolini's Salò, or the 120 Days of Sodom (1975). Blangis exits the castle, followed by three acolytes in tricorn hats (typical of the 18th century aristocracy and bourgeoisie) one of whom is lame (such as the bandits of the second segment of the film). That Blangis is portrayed with a long beard and a long white robe, resembling Jesus in most Christian iconography, emphasizes the film's opposition of religious and political powers over the innocent and loving gentry. See more »
I have waited for a long time. What joy to have our children murdered!
See more »
After completing Un Chien Andalusia with Salvador Dali (who helped write the screenplay) Bunuel began his new film titled L'age D'or, translated as The Golden Age. Altho not entirely collaborating on the screenplay, Dali still received his credential for L'age D'or; however, this film was primarily a sole project for Bunuel. In this film Bunuel attacks religion with the famous image of a skeletal clergy resting on the shore of Catalonia. In addition, the film contains other sensational and bizarre imagery (i.e. a cow laying on a bed, a woman having a bowel movement, a man with a boulder on his head, a festering wound on a man's eye, and the like). Obviously, L'age D'or was controversial at it's time, and still is for some audiences. However, the films takes at least 3 times to completely understand Bunuel's symbolism (the way I saw it), as well as the ambiguous conclusion which is still a bit hazy for me. The film's pace is rather slow and can be dull at moments; nevertheless, it takes a lot of patience to even enjoy this film, considering the irregular structure of the story-line. However, that doesn't mean the film is a bomb: it's definitely a standard in the history of art-and-film, influencing a dozen surrealist filmmakers (ie, Cocteau, Fellini) as well as underground directors. In Short, this film will start to grow on the viewer after several viewings. Bunuel was ahead of his time as a director, therefore L'age D'or may seem out of place for todays audiences as well as todays critics.
19 of 35 people found this review helpful.
Was this review helpful to you?