The Phantom of Liberty (1974)

A series of surreal sequences that critique morality and society in a stream of consciousness style.

Director:

Luis Buñuel (as Luis Bunuel)

Writers:

Luis Buñuel (scenario) (as Luis Bunuel), Jean-Claude Carrière

Stars:

Jean-Claude Brialy, Adolfo Celi, Michel Piccoli

2 wins.

Cast

Cast overview, first billed only:
Adriana Asti	...	La dame en noir et la soeur du premier préfet / Prefect's Sister
Julien Bertheau	...	Le premier préfet de police / First Prefect
Jean-Claude Brialy	...	Foucauld / Mr. Foucauld
Adolfo Celi	...	Le docteur de Legendre / Doctor Pasolini
Paul Frankeur	...	L'aubergiste / Innkeeper
Michael Lonsdale	...	Le chapelier / Hatter
Pierre Maguelon	...	Gérard, le gendarme / Policeman
François Maistre	...	Le professeur des gendarmes / Professor
Hélène Perdrière	...	La vieille tante / Aunt
Michel Piccoli	...	Le second préfet de police / Second Prefect
Claude Piéplu	...	Le commissaire de police / Commissioner
Jean Rochefort	...	Legendre / Mr. Legendre
Bernard Verley	...	Le capitaine des dragons / Judge
Milena Vukotic	...	L'infirmière / Nurse (as Miléna Vukotic)
Monica Vitti	...	Mme Foucaud / Mrs. Foucauld

Storyline

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 retiring to a small room to eat.

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Plot Keywords:

female pantyhosed crotch | female stockinged legs | taupe pantyhose | pantyhose | fishnet stockings | 

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Taglines:

Luis Bunuel's kinkiest comedy.

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Genres:

Comedy

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Certificate:

R

Details

Country:

France

Language:

French

Release Date:

27 October 1974 (USA)

Also Known As:

The Phantom of Liberty

Filming Locations:

Studios de Boulogne, Avenue Jean-Baptiste Clément, Boulogne-Billancourt, Hauts-de-Seine, France

Box Office

Opening Weekend USA:

$6,172, 8 November 2002, Limited Release

Gross USA:

$6,172, 10 November 2002

Company Credits

Production Co:

Greenwich Film Productions

Technical Specs

Runtime:

104 min

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Aspect Ratio:

1.66 : 1

Did You Know?

Trivia

This film is part of the Criterion Collection, spine #290.

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Goofs

At the beginning of the movie after shooting the prisoners you can see one of the victims moving the hand although he's dead.

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Quotes

Le père Gabriel/Father Gabriel: Good evening, madame. Do you know what this is?
La dame en noir et la soeur du premier préfet/Prefect's Sister: Yes, it's an image.
Le père Gabriel/Father Gabriel: A miraculous image of St. Joseph. It sometimes has amazing effects on the sick.
La dame en noir et la soeur du premier préfet/Prefect's Sister: Really?
Le père Gabriel/Father Gabriel: Sometimes faith succeeds where science fails. We just came from the Marquise of Pomarede. She was near death. We brought her the image, we prayed, and this morning when we left the chateau...
La dame en noir et la soeur du premier préfet/Prefect's Sister: She was cured?
Le père Gabriel/Father Gabriel: She was a bit better.

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Connections

Featured in Regarding Buñuel (2000)

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Soundtracks

Carnaval, opus 9, movement number 12 - Chopin
Written by Robert Schumann
Played on the piano by the sister of the police commissioner

User Reviews

Buñuel continues to impress with this surrealistic, violent comedy

The master of surrealistic cinema, Luis Buñuel, changed his approach to the bourgeoisie after "Tristana", and his last three films are all comic and prevail through a mixture of pure surrealism, extreme irony and the one consistent theme of Buñuel's auteurship- hatred of the ruling classes.

"Le Fantôme de la Liberté" is perhaps Buñuel's least accessible work since his first two films, "Un Chien Andalou" and "L' Age d' Or". It is a thematic continuation of "Le Charme Discret de la Bourgeoisie", where the seven protagonists just couldn't finish, or even start, a meal. This is a strong metaphor for Buñuel's view that the bourgeoisie is a dying class, and that not even a violent revolution is needed to remove the bourgeoisie from power and wealth. They are perfectly capable of doing so themselves, through their indulgence in pathetic etiquette and decaying sense of morality. "Le Fantôme" is not funnier than "Le Charme", but it is harder to understand, and this is exactly what Buñuel and Carrière wanted after the success of "Le Charme" at the previous Academy Awards.

In "Le Fantôme", not even the characters are consistent throughout the film. This film is like a relay, where one member of the ruling class passes the stick to the next, and never comes back to the vision of the audience. They just leave, like Buñuel wanted them to, perhaps, but in this film is an important factor because it confirms Buñuel's non-human view of the people of this class. His was a collective hatred, and this film reflects his collective view of the bourgeoisie. The film contains absurd, surreal incidents, like priests playing cards while smoking and drinking, parents reacting to postcards of famous buildings given their daughter by a stranger as they were obscene and a writer killing tens of people from his sniping-position at the roof of a building. The writer is found not guilty, and the continuing mix-up of characters, two actors competing for one role makes for a very confusing narrative. Or maybe the "story" is just a mockery of traditional storytelling in film. Resnais and Robbe-Grillet made "Last Year in Marienbad" just to prove that telling stories is a bourgeois thing and not necessary for modernist or revolutionary cinema.

This film is actually based on a painting by Francisco José de Goya called "El Tres de Mayo" (The three in Mayo), and "Le Fantôme" starts with a short episode of how Buñuel depicts the incidents during the Napoleon Wars. But it's the theme of Goya's painting that Buñuel is concerned with, and this film is more than a mockery of the bourgeoisie, it is also an attack on communist doctrine which all over the world only seems to take from the people what is was supposed to give to the people: Freedom, and also an attack on leftist defeatism. The glorification of the defeat is perhaps the modern Left's biggest problem, which only leads to a move away from power. "Down with freedom!", Buñuel's revolutionaries shout- and the firing squads start firing at the dying revolutionaries.