Celestine, the chambermaid, has new job on the country. The Monteils, who she works for are a group of strange people. The wife is frigid, her husband is always hunting (both animals and ... See full summary »
A forged 500-franc note is cynically passed from person to person and shop to shop, until it falls into the hands of a genuine innocent who doesn't see it for what it is - which will have ... See full summary »
Sylvie Van den Elsen,
Celestine, the chambermaid, has new job on the country. The Monteils, who she works for are a group of strange people. The wife is frigid, her husband is always hunting (both animals and women) and her father is a shoe-fetishist. Joseph, the farm-labourer is a fascist and sexually attracted to Celestine. Celestine settles herself and talks to the neighbour, an ex-officer, who likes damaging his neighbour's things. After the death of the old man, she quits her job, but because of the rape and murder of a child 'Little Claire' she decides to stay, believing that Joseph is the murderer. To get his confession she sleeps with him and promises to marry him. In spite of her engagement she fakes evidence to implicate him in the murder. He is arrested, but is released because the evidence is inconclusive. She marries the ex-officer and takes on a housewife role similar to that of Madame Monteil Written by
Stephan Eichenberg <firstname.lastname@example.org>
The demonstrating fascists shout "Vive Chiappe", a homage to the chief of the Parisian police who prohibited showing director Luis Buñuel's earlier film L'Age d'Or (1930) after fascists destroyed the cinema where it was being shown. See more »
Parisian chambermaid enters the bourgeois world of the French countryside of the 1920s - a world out of joint
As in most of his other attempts, Luis Bunuel invites the audience to take on a somewhat unusual view of the human psyche in general and of the social conventions of a certain segment of society in particular. Here it is a eccentric bourgeois family living in their secluded microcosm of a stately home in the French countryside, strangely remote from the historic upheavals going on in France and in the rest of Europe. Jeanne Moureau, starring as a Parisian chambermaid entering this microcosm almost like an alien intruder, heads a basically well-chosen cast, even though some of the minor characters remain largely undeveloped. Since the film unabashedly defies the modern(ist) tendency to closure, this disturbing portrait of the bourgeois world of the French countryside of the 1920 can be called post-modern in the true sense of the word.
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