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The Mysteries of the Chateau de De (1929)
"Les mystères du château de Dé" (original title)

6.4
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Ratings: 6.4/10 from 391 users  
Reviews: 5 user | 1 critic

Mannequin hands hold a pair of dice. A castle is perched on a hilltop. Below it, a posh, modern villa. Meanwhile, far from Paris, two men with masked faces play dice in a bar. They decide ... See full summary »

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Title: The Mysteries of the Chateau de De (1929)

The Mysteries of the Chateau de De (1929) on IMDb 6.4/10

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Cast

Credited cast:
Georges Auric ...
Himself
Le Comte de Beaumont ...
Himself
Le Vicomte de Noailles ...
Himself
Marie-Laure de Noailles ...
Herself
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Storyline

Mannequin hands hold a pair of dice. A castle is perched on a hilltop. Below it, a posh, modern villa. Meanwhile, far from Paris, two men with masked faces play dice in a bar. They decide to drive to Paris. Country roads, hills, fences. The posh "chateau" appears again: meticulous garden, fancy interior, odd sculptures. And at home? "No one, NO ONE." For the next two days, masked figures play dice, frolic by the pool, perform exercises with a ball. Two new figures arrive. Masked. They search and find the dice. They dance. Mannequin hands hold a pair of dice. Written by David Carless

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Genres:

Documentary | Short

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Details

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Release Date:

6 June 1929 (France)  »

Also Known As:

The Mysteries of the Chateau de De  »

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Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

Premiered with Un Chien Andalou (1929) at Studio des Ursulines. Man Ray wanted a second film to show with his own and was introduced to Luis Buñuel, who had just completed Un Chien Andalou (1929) with Salvador Dalí. See more »

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User Reviews

 
Not his most alluring work, but still fantastically imaginative
26 March 2006 | by (United States) – See all my reviews

Man Ray. He's a Dadaist. "De" in French means dice. Dice are a symbol of Dadaism. That's about the only "reason" behind this film, which of course is funny because Dadaism is about antireason to a degree. But really that's all there is in terms of explanation. In terms of imagery, that's what this movie is for.

It's vastly different from Ray's other works in that it is the exact opposite of the spinning light. Instead, it's very straight and measured shadow. The rapid movement one can get used to in Ray's work is replaced with very static and slow imagery and camera movement. Even the in theory lively movement of the... people... gets pretty slow.

Experimental, interesting, and without reason. If that's what you like, this is what you'll like.

--PolarisDiB


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