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Belle de Jour (1967)

Belle de jour (original title)
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A frigid young housewife decides to spend her midweek afternoons as a prostitute.

Director:

Luis Buñuel (as Luis Bunuel)

Writers:

Joseph Kessel (novel) (as Joseph Kessel de l'Académie Française), Luis Buñuel (adaptation) (as Luis Bunuel) | 1 more credit »
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4,508 ( 1,217)
Nominated for 1 BAFTA Film Award. Another 5 wins & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
Catherine Deneuve ... Séverine Serizy / Belle de Jour
Jean Sorel ... Pierre Serizy
Michel Piccoli ... Henri Husson
Geneviève Page ... Madame Anais
Pierre Clémenti ... Marcel (as Pierre Clementi)
Françoise Fabian ... Charlotte
Macha Méril ... Renee (as Macha Meril)
Muni ... Pallas
Maria Latour ... Mathilde
Claude Cerval Claude Cerval
Michel Charrel Michel Charrel ... Footman
Iska Khan Iska Khan ... Asian client
Bernard Musson Bernard Musson ... Majordomo
Marcel Charvey Marcel Charvey ... Prof. Henri
François Maistre François Maistre ... L'enseignant
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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:

View content advisory »
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Details

Country:

France | Italy

Language:

French | Spanish | Mongolian

Release Date:

10 April 1968 (USA) See more »

Also Known As:

Belle de Jour See more »

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Box Office

Opening Weekend USA:

$6,462, 25 March 2018, Limited Release

Gross USA:

$26,331, 19 April 2018
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Trivia

While the film was shooting, Catherine Deneuve said publicly that she was enjoying making the film. Other than remarking that shooting some of the brothel scenes could be "difficult," she said at the time that she was "in awe" of Luis Buñuel and called him "wonderful to work with; kind, understanding, very sweet, very human." See more »

Goofs

Marcel breaks the glass and oval frame to vent his anger. The same frame and picture are unbroken later. See more »

Quotes

Madame Anais: I have an idea. Would you like to be called "Belle de Jour"?
Séverine Serizy: Belle de Jour?
Madame Anais: Since you only come in the afternoons.
Séverine Serizy: If you wish.
See more »

Connections

Referenced in Belle de jour (2000) See more »

Frequently Asked Questions

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User Reviews

 
Great exercise in surrealism

"Belle de Jour" is generally considered to be director Luis Bunuel's masterpiece; a surprisingly revealing and seemingly personal venture into the world of eroticism and its deviances. It's a truly surrealistic exercise in ambiguity, fantasy, and reality. The line that separates them is blurred so much that the famously mysterious ending has had critics arguing for decades over its meaning.

The fantasy sequences are usually signalled by the sound of carriage bells, but by the end of the film the viewer is no longer able to differentiate between what is another one of Severine's fantasies and what is reality. Even Bunuel admitted to not knowing himself. He said that "by the end, the real and imaginary fuse; for me they form the same thing." The gorgeous Catherine Deneuve, resplendent in her icy prime, portrays Severine Sevigny, the middle-class wife of Pierre, a doctor. She is frigid, virginal, yet seemingly happy enough in her bourgeoisie life and its trappings. However, upon hearing about a local clandestine brothel from a friend, she pays a visit to the madame, and becomes a prostitute, going by the name of "Belle de Jour", as she can only work in the afternoons. She apparently fully realizes and enjoys her sexuality, despite her guilty conscience, exclaiming that she "can't help it". She certainly doesn't need the money. She's bored with her life and her marriage, needing a "firm hand" to lead her; a need which the madame, Anais, who is obviously attracted to her, almost immediately recognizes. Her sweet and conventional husband is unaware, treating her much like a child, and the audience cannot help but believe that even if he knew of her true nature, he would not understand or empathize. She keeps her two worlds neatly separate until a patron of hers (whom she herself enjoys) becomes obsessed with her, and all is threatened.

That Alfred Hithcock in particular admired this film comes as no surprise to me; Deneuve would have been the perfect Hitchcock heroine: an icy blonde who becomes "a whore in the bedroom", as Hitchock was fond of saying he preferred in his leading ladies. But this remark is not meant to simplify the story, its telling, or Deneuve's remarkable performance, which is what truly draws the viewer into the film.

"Belle de Jour" was Bunuel's first foray into the use of color, and he employed it to great effect. From the fall colors displayed in the landscape scenes, to the subtle shades in Deneuve's clothing, the contrasts are set. While the world around her explodes in glorious hues, Deneuve's character is defined by her couture, if staid, wardrobe of tan, black, and white.

"Belle de Jour" was unreleased for many years due to copyright problems, but finally re-released in 1995 through the efforts of director Martin Scorcese, and released on DVD in 2003. I've watched it twice in the past week and am still at a loss to describe it very well; suffice to say that I am in awe. It's an amazingly erotic film without any explicitness, and one that I expect hasn't lost any of its effect over the years. As the subject matter is handled very tactfully and without any actual sex scenes; a great deal is left to the viewer's imagination - which only serves the heighten the mysteries inherent at every turn in the film. The viewer is however drawn into the sense of feeling to be a voyeur into Severine's secret life; the careful choreography of scenes and camera angles contribute to the uncomfortable sense of intrusion by us, the viewers.

There are many sub-stories and small mysteries in the film; for instance one of the most widely debated upon by critics is the mystery of "what is in the Asian client's little box?" that he presents first to one prostitute, who quickly refuses, then to Severine, who tentatively agrees. All the audience know is that it's something with a insect-like noise, and when the client leaves, Severine is sprawled face-down upon the bed, the sheets thrown about, and obviously pleased with whatever took place in the interim.

"Belle de Jour" was awarded the Golden Lion at the 1967 Venice Film Festival, as well as the award for Best Foreign Film in 1968 from the New York Film Critics Circle.

Interesting side notes: Bunuel himself had a shoe fetish, which helps explain the numerous shots of Deneuve's beautifully clad feet throughout the film, and the fact that every time she goes shopping, she buys shoes. He also appears in the film in a cameo as a cafe patron, and in another scene his hands are shown loading a gun.


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