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Belle de Jour (1967)

Belle de jour (original title)
R | | Drama | 10 April 1968 (USA)
A frigid young housewife decides to spend her midweek afternoons as a prostitute.

Director:

(as Luis Bunuel)

Writers:

(novel) (as Joseph Kessel de l'Académie Française), (adaptation) (as Luis Bunuel) | 1 more credit »
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Nominated for 1 BAFTA Film Award. Another 5 wins & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
...
...
...
...
Marcel (as Pierre Clementi)
...
Charlotte
...
Renee (as Macha Meril)
Muni ...
Pallas
...
Mathilde
Claude Cerval
Michel Charrel ...
Footman
Iska Khan ...
Asian client
Bernard Musson ...
Majordomo
Marcel Charvey ...
Prof. Henri
François Maistre ...
L'ensignant
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Storyline

Severine is a beautiful young woman married to a doctor. She loves her husband dearly, but cannot bring herself to be physically intimate with him. She indulges instead in vivid, kinky, erotic fantasies to entertain her sexual desires. Eventually she becomes a prostitute, working in a brothel in the afternoons while remaining chaste in her marriage. Written by James Meek <james@oz.net>

Plot Summary | Plot Synopsis

Taglines:

Luis Bunuel's Masterpiece of Erotica!

Genres:

Drama

Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Language:

| |

Release Date:

10 April 1968 (USA)  »

Also Known As:

Belle de Jour  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

When the Duke (Georges Marchal) arrives by carriage at the outdoor cafe, he pauses beside a table at which Luis Bunuel and another man are sipping coffee. See more »

Goofs

When Severine and friend are in the cab, the projected background in the cab does not match the exterior as seen when Severine gets out. See more »

Quotes

Hyppolite: The snow. We know you've got it.
See more »

Connections

Referenced in 8 femmes (2002) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Unique, Strange, and Memorable
6 May 2005 | by (Biloxi, Mississippi) – See all my reviews

The premise of BELLE DU JOUR is well known. A young, beautiful, and slightly frigid doctor's wife (Catherine Deneuve) secretly harbors fantasies of being dominated, humiliated, and abused by her husband (Jean Sorel.) When these fantasies can no longer be denied, she becomes a prostitute under the sponsorship of a possibly lesbian madam (Geneviève Page), working during the afternoons while her husband is at his own work. Her sexuality is awakened by the sometimes brutish clients, who soon discover that "she likes it rough," and she is ultimately caught up a relationship with a truly dangerous client (Pierre Clémenti) whose possessiveness threatens to destroy both her and her husband.

Throughout the film Deneuve slips in and out of memory and fantasy, sometimes recalling herself as a possibly molested child, sometimes imagining herself as the victim in a series of sexual assault fantasies. Director Bunuel, whose masterpiece this is, so blurs the line between memory, reality, and fantasy that by the film's conclusion one cannot be sure if some, most, or everything about the film has been Deneuve's fantasy.

Although it includes a number of impressive performances (particularly by Geneviève Page, her girls, and their clients), BELLE is essentially Deneuve's film from start to finish, and she gives an astonishing performance that cannot be easily described. Like the film itself, it is a balancing act between fantasy and a plausible reality that may actually be nothing of the kind. Bunuel presents both her and the film as a whole in an almost clinical manner, and is less interested in gaining our sympathy for the character than in presenting her as an object for intellectual observation.

Ultimately, BELLE DU JOUR seems to be about a lot of things, some of them obvious and some of them extremely subtle. And yet, given the way in which it undercuts its realities by blurring them with fantasy, it is also entirely possible that the film is not actually "about" anything except itself. Individuals who insist on clear-cut meanings and neatly wrapped conclusions will probably loathe it--but those prepared to accept the film on its own terms will find it a fascinating experience. Recommended.

Gary F. Taylor, aka GFT, Amazon Reviewer


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