Word: bufiuel
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Dates: during 1960-1969
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BELLE DE JOUR. Ranging easily from anticlerical broadsides to highly polished pornography, this bizarre tale of the sexual fantasies of a beautiful young wife (Catherine Deneuve) makes a fitting capstone to the 40-year career of Spanish Director Luis Bufiuel...
There is no way of knowing-and this seems to be the point of the film with which Bufiuel says he is winding up his 40-year career. Fantasy, he seems to be saying, is nothing but the human dimension of reality that makes life tolerable, and sometimes even...
...dedicated to the proposition that upper-class sex in 18th century France was frisky, witty, pretty and piquant. The Young Girls of Roche fort, a disappointing follow-up to Jacques Demy's ethereal The Umbrellas of Cherbourg, is a treacly dollop of banality. But Belle de Jour is Bufiuel...
Spanish Director Luis Bufiuel is 68, deaf and an acknowledged alcoholic; he has claimed that this-his 27th picture-will be his last. True or not, Belle de Jour is a fitting capstone to the curious career of an unpopular but near-legendary film maker whose favorite themes have been anticlericalism, madness, fetishist fantasies and the wilder frontiers of sex. The Belle of this story is the masochistic wife of a successful young Parisian doctor who finds relief from her marital frigidity by working part-time in a whorehouse-not for conventional kicks but for the delicious indignities involved. Since...
...this is his message, Bufiuel dresses it up in Belle de Jour with unaccustomed cinematic smoothness. Instead of the brutal bludgeoning in black-and-white that audiences have come to expect from such Bufiuel classics as Viridiana or Los Olvidados, Belle de Jour is composed in color with an eye to elegance that is well suited to the cool beauty of Deneuve...