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Le charme discret de la bourgeoisie (1972) Directed by Luis Bu単uel. With Fernando Rey, Paul Frankeur, Delphine Seyrig. ... users on IMDb message board for Le charme discret de la bourgeoisie (1972) ... www.imdb.com/title/tt0068361/ - Cached - Similar Luis Bu単uel aka The Specter of Freedom; Le charme discret de la bourgeoisie (1972) (as Luis Bunuel) ... aka The Discreet Charm of the Bourgeoisie (Canada: English ... www.imdb.com/name/nm0000320/ - Cached - Similar Show more results from www.imdb.com Luis Bunuel Luis Bu単uel creates a macabre and insightful comedy on obsession, .... Le Charme Discret de la Bourgeoisie, 1972 [The Discreet Charm of the Bourgeoisie] ... www.filmref.com/directors/dirpages/bunuel.html - Cached - Similar -


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Le charme discret de la bourgeoisie (1972) Directed by Luis Bu単uel. With Fernando Rey, Paul Frankeur, Delphine Seyrig. ... users on IMDb message board for Le charme discret de la bourgeoisie (1972) ... www.imdb.com/title/tt0068361/ - Cached - Similar Luis Bu単uel aka The Specter of Freedom; Le charme discret de la bourgeoisie (1972) (as Luis Bunuel) ... aka The Discreet Charm of the Bourgeoisie (Canada: English ... www.imdb.com/name/nm0000320/ - Cached - Similar Show more results from www.imdb.com Luis Bunuel Luis Bu単uel creates a macabre and insightful comedy on obsession, .... Le Charme Discret de la Bourgeoisie, 1972 [The Discreet Charm of the Bourgeoisie] ... www.filmref.com/directors/dirpages/bunuel.html - Cached - Similar The Discreet Charm of the Bourgeoisie - Wikipedia, the free ...


The Discreet Charm of the Bourgeoisie (French: Le charme discret de la bourgeoisie) is a 1972 surrealist film directed by Luis Buñuel and written by ... en.wikipedia.org/.../The_Discreet_Charm_of_ the_Bourgeoisie - Cached - Similar Luis Buñuel - Wikipedia, the free encyclopedia His sons are Rafael and Juan Luis Buñuel. Diego Buñuel, filmmaker and host of the .... Le charme discret de la bourgeoisie, The Discreet Charm of the ... en.wikipedia.org/wiki/Luis_Buñuel - Cached - Similar Le Charme Discret de la Bourgeoisie Buñuel, Luis, and Jean-Claude Carrière, “Le Charme discret de la bourgeoisie,” in L’AvantScène du Cinéma (Paris), April 1973. ... www.filmreference.com/.../Le-Charme-Discretde-la-Bourgeoisie.html - Cached - Similar Le Charme discret de la bourgeoisie Le Charme discret de la bourgeoisie. (Der diskrete Charme der Bourgeoisie). par Luis Buñuel. France / España / Italia 1972 ... www.celtoslavica.de/chiaroscuro/.../charmediscret/charme.html - Cached - Similar Luis Bunuel, The Discreet Charm of the Bourgeoisie (Le Charme ... No surprise that the bourgeoisie and religion both take hits in Luis Buñuel’s The Discreet Charm of


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The Discreet Charm of the Bourgeoisie From Wikipedia, the free encyclopedia

The Discreet Charm of the Bourgeoisie (French: Le charme discret de la bourgeoisie) is a 1972 surrealist film directed by Luis Buñuel and written by Jean-Claude Carrière in collaboration with the director. The film was made in France and is mainly in French, some dialogue is in Spanish. The film concerns a group of upper class people attempting — despite continual interruptions — to dine together. The film received the 1972 Academy Award for Best Foreign Language Film.mains a popular destination for Beatles fans; see the Abbey Road webcam Plot The film consists of several thematically linked scenes: five gatherings of a group of bourgeois friends, and the four dreams of different characters. The beginning of the film focuses on the gatherings, while the latter part focuses on the dreams, but both types of scenes are intertwined. There are also scenes involving other characters, such as two involving a Latin American female


terrorist from the fictitious Republic of Miranda. The film’s world is not logical: the bizarre events are accepted by the characters, even if they are impossible or contradictory. The film begins with a bourgeois couple, the Thévenots (Frankeur and Seyrig), accompanying M. Thévenot’s colleague Rafael Acosta (Rey) and Mme. Thévenot’s sister Florence (Ogier), to the house of the Sénéchals, the hosts of a dinner party. Once they arrive, Alice Sénéchal (Audran) is surprised to see them and explains that she expected them the following evening and has no dinner prepared. The would-be guests invite Mme Sénéchal to join them for dinner at a nearby inn. Finally arriving at the inn, the party find it locked. They knock and are invited in, despite the waitress’ seeming reluctance and an ominous mention of “new management”. Inside, there are no diners (despite disconcertingly cheap prices) and the sound of wailing voices from an adjoining room. It is learned that the manager died a few hours earlier and his former employees are holding vigil over his corpse, awaiting the coroner. The party hurriedly leave. Two days later, the bourgeois friends attempt to have lunch at the Sénéchals, but he (Cassel) and his wife escape to the garden to have sex instead of joining them. One of the bourgeois friends takes this as a sign that one of them called the police (fearing the discovery of his cocaine trafficking) and were leaving because they didn’t


want a fuss. The party leaves again. At another, they visit a tea house, which turns out to have run out of all beverages - tea, coffee, milk, and herbal tea, although it finally turns out that they do have water. While they are waiting, a soldier randomly tells them about his childhood, and about how after the death of his mother, he was educated by his cold-hearted father. The soldier’s mother (as a ghost) informs him that the man is not his real father, but in fact, killed the soldier’s father during a duel over his mother’s favor. Following his ghost mother’s request, the soldier poisons and kills the ruthless culprit. A priest attempts to work for the couple who had (previously) sneaked off to their garden to make love owing to their unbearable stuffed-shirt guests. He explains to them about his childhood - about how his parents were murdered by arsenic poisoning, and the culprit was never apprehended. Later on in the film, he goes to bless a dying man, but when it turns out that the man was the gardener who killed the priest’s parents, he first blesses him, then fires the shotgun, killing the man. Various other aborted dinners ensue, with interruptions including the arrival of an army of soldiers in the dining room, or the revelation that a restaurant is in fact a stage set in a theatrical performance, during a dream sequence.


The films ends with a common scene, the six people walking silently on a road toward a mysterious destination. Principal cast -

Fernando Rey Paul Frankeur Delphine Seyrig Bulle Ogier Stéphane Audran Jean-Pierre Cassel Julien Bertheau Milena Vukotic Maria Gabriella Maione Claude Piéplu Marguerite Muni Pierre Maguelon François Maistre Michel Piccoli


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Luis Buñuel From Wikipedia, the free encyclopedia

Luis Buñuel Portolés (22 February 1900 – 29 July 1983) was a Spanish-born filmmaker who acquired the Mexican citizenship and worked in Mexico, France, and also in his native Spain and the United States. He is considered one of Spain’s finest directors, and also a significant director in the history of cinema. Biography Buñuel was born in Calanda, province of Teruel in the autonomous community of Aragon, Spain. His parents were Leonardo Buñuel and María Portolés; he had two brothers, Alfonso and Leonardo, and four sisters, Alicia, Concepción, Margarita and María. He had a strict Jesuit education at the Colegio del Salvador in Zaragoza from which he was expelled. Later he went to university in Madrid. While studying at the University of Madrid (current-day Universidad Complutense de Madrid) he became a very close friend of painter Salvador Dalí and poet Federico García Lorca, among other important Spanish artists living in the Residencia de Estudiantes. Buñuel first studied the natural sciences and agronomy, then engineering, but


later switched to philosophy. The 2009 biopic Little Ashes gives an account of the relationship of Dalí, Lorca, and Buñuel at this time. In 1925, he moved to Paris where he began work as a secretary in an organization called the International Society of Intellectual Cooperation. He later found work in France as a director’s assistant to Jean Epstein on Mauprat (1926), Mario Nalpas on La Sirène des Tropiques (1927) starring Josephine Baker, and Epstein (his adaptation of Edgar Allan Poe) La chute de la maison Usher (1928). He then co-wrote and directed a 16-minute short film Un chien andalou (1929) with Dalí. This film, featuring a series of startling and sometimes horrifying images of Freudian nature (such as what appears to be the slow slicing of a woman’s eyeball with a razor blade) was enthusiastically received by French surrealists of the time, and continues to be shown regularly in film societies to this day. He followed this film with L’Âge d’or (1930), partly based on the Marquis de Sade’s 120 Days of Sodom. The film was begun as a second collaboration with Dalí but became Buñuel’s solo project after a falling-out they had before filming began. During this film he worked around his technical ignorance by filming mostly in sequence and using nearly every foot of film that he shot. L’Âge d’or


was read to be an attack on Catholicism, and thus, precipitated an even larger scandal than Un chien andalou. The right-wing press criticized the film and the police placed a ban on it that lasted 50 years. Following L’Âge d’or, Buñuel returned to Spain and directed Las Hurdes: Tierra Sin Pan (Land Without Bread, 1933), a documentary on peasant life. This was a convulsive period which led, in 1936, to the Spanish Civil War. The times were changing quickly and Buñuel could see that someone with his political and artistic sensibilities would have no place in a fascist Spain. He cowrote and produced a documentary short about the changing political climes in Spain España 1936. In the United States In exile after the Spanish Civil War, Buñuel settled in Hollywood to capitalize on the short-lived fad of producing foreign-language versions of American films for sales abroad. After Buñuel worked on a few Spanish-language remakes, the industry eventually turned to the dubbing of dialogue. He then left Hollywood for New York, getting a job at the Museum of Modern Art from Iris Barry, where he put together compilation films, and edited a shorter version of Leni Riefenstahl’s propaganda film glorifying Hitler, Triumph of the Will (1934).


In his autobiography, The Secret Life of Salvador Dalí (1942), Dalí suggested that he had split with Buñuel because the latter was a Communist and an atheist. Buñuel was fired (or resigned) from MOMA, supposedly after Cardinal Spellman of New York went to see Iris Barry, head of the film department at MOMA. Buñuel then went back to Hollywood where he worked in the dubbing department of Warner Brothers from 1942 to 1946. In his 1982 autobiography Mon Dernier soupir (English translation My Last Sigh published 1983), Buñuel wrote that he submitted a treatment to Warners about a disembodied hand which was later adapted (without his consent and without paying him royalties) into The Beast with Five Fingers (1946) with Peter Lorre. Buñuel also wrote that, over the years, he rejected Dalí’s attempts at reconciliation. In 1972, Buñuel, along with his screenwriter Jean-Claude Carrière and producer Serge Silberman, was invited by George Cukor to his house. This gathering was particularly memorable and other invitees included Alfred Hitchcock, Rouben Mamoulian, Robert Mulligan, George Stevens, Billy Wilder, Robert Wise and William Wyler.


Mexican era Buñuel arrived in Mexico in 1946 and acquired Mexican citizenship in 1949; he relinquished his Spanish passport as it was not possible to have dual citizenship then. The first film he directed there was Gran Casino (1946), produced by Oscar Dancigers. Buñuel found the plot boring and it was not hugely successful. He later again collaborated with Dancigers in creating El Gran Calavera (1949), a successful film starring Fernando Soler. As Buñuel himself has stated, he learned the techniques of directing and editing while shooting El Gran Calavera. Its success at the box office encouraged Dancigers to accept the production of a more ambitious film for which Buñuel, apart from writing the script, had complete freedom to direct. The result was his critically acclaimed Los Olvidados (1950), which was recently considered by UNESCO as part of the world’s cultural heritage. Los Olvidados (and its triumph at Cannes) made Buñuel an instant world celebrity and the most important Spanish-speaking film director in the world. Buñuel remained in Mexico for the rest of his life, although he spent periods of time filming in France. In Mexico, he filmed 20 films, including: - Él (1953) - Ensayo de un crimen (The Criminal Life of Archibaldo de la Cruz) (1955)


- Nazarín (1959) (based on a novel by Spain’s Benito Pérez Galdós, and adapted by Buñuel to a Mexican context) - El Ángel Exterminador (The Exterminating Angel) (1962) - Simón del desierto (Simon of the Desert) (1965) French era After the golden age of the Mexican film industry ended, Buñuel started to work in France along with Silberman and Carrière. During this “French Period”, Buñuel directed some of his best-known works: Le Journal d’une femme de chambre (Diary of a Chambermaid), free adaptation of the famous Octave Mirbeau’s novel Le journal d’une femme de chambre; Belle de Jour; Cet obscur objet du désir (That Obscure Object of Desire); and Le Charme discret de la bourgeoisie (The Discreet Charm of the Bourgeoisie)—as well as some lesserknown films such as The Phantom of Liberty and La Voie lactée (The Milky Way). After the release of Cet obscur objet du désir (1977) he retired from film making, and wrote (with Carrière) an autobiography, Mon Dernier Soupir (My Last Sigh), published in 1982, which provides an account of Buñuel’s life, friends, and family as well as a representation of his eccentric personality. In it he recounts dreams, encounters with many well known writers, actors, and artists


such as Pablo Picasso and Charlie Chaplin, and antics such as dressing up as a nun and walking around town. As one might deduce from these antics, Buñuel was famous for his atheism. In a 1960 interview with Michele Manceaux in L’Express, Buñuel famously declared: “I am still, thank God, an atheist.” Buñuel almost seemed to repudiate this statement in a 1977 article in The New Yorker. “I’m not a Christian, but I’m not an atheist, either”, he said. “I’m weary of hearing that accidental old aphorism of mine, ‘I’m an atheist, thank God.’ It’s outworn. Dead leaves. In 1951, I made a small film called Mexican Bus Ride, about a village too poor to support a church and a priest. The place was serene, because no one suffered from guilt. It’s guilt we must escape from, not God.” He married Jeanne Rucar in a town hall in Paris in 1934 and they remained married throughout his life. His sons are Rafael and Juan Luis Buñuel. Diego Buñuel, filmmaker and host of the National Geographic Channel’s Don’t Tell my Mother I am in... series, is his grandson. He died in Mexico City in 1983.


Surrealism Buñuel’s films were famous for their surreal imagery; they include scenes in which chickens populate nightmares, women grow beards, and aspiring saints are desired by luscious women. Even in the many movies he made for hire (rather than for his own creative reasons), such as Susana and The Great Madcap, he usually added his trademark of disturbing and surreal images. Running through his own films is a backbone of surrealism; Buñuel’s world is one in which an entire dinner party suddenly finds itself inexplicably unable to leave the room and go home, a bad dream hands a man a letter which he brings to the doctor the next day, and where the devil, if unable to tempt a saint with a pretty girl, will fly him to a disco. An example of a more Dada influence can be found in Cet obscur objet du désir, when Mathieu closes his eyes and has his valet spin him around and direct him to a map on the wall. Buñuel never explained or promoted his work. On one occasion, when his son was interviewed about The Exterminating Angel, Buñuel instructed him to give facetious answers; for example, when asked about the presence of a bear in the socialites’ house, Buñuel fils claimed it was because his father liked bears. Similarly, the several repeated scenes in the film were explained as having been put there to increase the running time.


the Bourgeoisie (Le Charme discret de la bourgeoisie). ... www.oldschoolreviews.com/.../discreet_charm_ bourgeoisie.htm - Cached - Similar Luis Bunuel (Spanish director) -- Britannica Online Encyclopedia Britannica online encyclopedia article on Luis Bunuel (Spanish director), ... Jean-Pierre Cassel and Stéphane Audran in Le Charme discret de la … [© .... Le Charme discret de la bourgeoisie (1973; The Discreet Charm of the Bourgeoisie), ... www.britannica.com/EBchecked/topic/84784/ Luis-Bunuel - Cached - Similar Le Charme Discret de la Bourgeoisie (The Discreet Charm Of The ... Luis Bunuel’s “The Discreet Charm of the Bourgeoisie” hardly resembles what you’d ... Be the first to talk about “Le Charme Discret de la Bourgeoisie (The ... www.flixster.com/.../le-charme-discret-de-labourgeoisie-the-discreet-charm-of-the-bourgeoisie - Cached - Similar Le Charme discret de la bourgeoisie / The Discreet Charm of the ... Review of the film Le Charme discret de la bourgeoisie (1972) ... As in his earlier film, Belle du jour, director Luis Bunuel mingles reality and fantasy to ... filmsdefrance.com/FDF_Le_charme_discret_de_ la_bourgeoisie_rev.html - Cached - Similar -


Le charme discret de la bourgeoisie