Word: tristana
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...familiar not only from Bunuel's Viridiana and Tristana but also as the crafty dope smuggler in The French Connection, plays the ambassador of a country called Miranda; his exquisitely developed sense of hypocrisy binds him close to his Parisian friends and even closer to Miss Seyrig, a friend's wife with whom he is indulging a perfunctory passion. With his companions Cassel and Frankeur, he is also earning a tidy stipend on the side by smuggling cocaine in his inviolate diplomatic briefcase. Their only concern, besides the ambassadors incessant fear of revolutionaries, is "a gang in Marseille...
...Tristana. Luis Bunuel's tale is about a young woman (Catherine Deneuve) who falls prey to the affections of her much older guardian (Fernado Rey). Comic (if not to the extent of The Milky Way ) and darkly surreal, this film presents Bunuel's unique vision of the shifting planes of morality...
...Bunuel's Tristana, which stars Catherine Dencuve, closed the Festival. The story is reminiscent of Viridinana: a beautiful young girl dressed in black enters the home of her guardian (Fernando Rey, who also played the uncle in Viridiana ); she becomes his mistress, then his wife; she destroys him. Loss of innocence is a favorite Bunuel theme, and Deneuve's progression from blond virgin to black widow is a passionate, nearly religious journey. What most marks the film is the blend of heresy and humanism for which Bunuel is distinguished...
...Tristana is the ward of a graying voluptuary, Don Lope (Fernando Key). Lope is an aristocrat, an atheist and a hypocrite-three distinct personalities that Rey manages to portray simultaneously. As his money and his vigor recede, Don Lope pursues the bewildered girl and overtakes her. Once seduced, Tristana is a figure of metastasizing vengeance. When she becomes the mistress of a young artist (Franco Nero), Don Lope shouts in misery, "I prefer tragedy to ridicule . . ." The girl awards him both. Her flight with the artist is ended by a disease that costs her a leg. Convalescing in the house...
...Much of Tristana's success lies in the director's scrupulous ambition. Once he was satisfied with the village atheism of Nazarin or the facile eroticism of Belle de Jour. In his 29th film, he is content with nothing less than the face of Spain. Don Lope's backchat with his comrades is an indelible vignette of the inhuman condition, where the aging pick the reputations of their fallen comrades, like buzzards wheeling over cadavers. In the background hover the symbolic figures of deaf-mutes, youths whose voices, like many Spaniards', cannot be heard. Yet Tristana...