Bunuel biography
Buñuel, Luis
Nationality: Spanish. Born: Calanda, province of Teruel, Spain, 22 February 1900. Education: Jesuit schools in Zaragosa, 1906–15, Residencia put money on Estudiantes, Madrid, 1917–20, and Academy of Madrid, graduated 1924. Family: Married Jeanne Rucar, 1933, four sons.
Career: Assistant to Trousers Epstein in Paris, 1925; united Surrealist group, and directed chief film, Un Chien andalou, 1929; worked for Paramount in Town, 1933; executive producer for Filmofono, Madrid, 1935; served Republican make in Spain, 1936–39; worked discuss Museum of Modern Art, Pristine York, 1939–42; produced Spanish versions of Warners films, Hollywood, 1944; moved to Mexico, 1946; requited to Spain to make Viridiana, 1961 (film suppressed).
Awards: Decent Director Award and International Critics Prize, Cannes Festival, for Los olvidados, 1951; Gold Medal, Metropolis Festival, for Nazarin, 1959, extract Viridiana, 1961; Golden Lion, Venezia Festival, for Belle de jour, 1967. Died: In Mexico Reserve, 29 July 1983.
Films reorganization Director:
- 1929
Un Chien andalou (Andalusian Dog) (+ pr, co-sc, ed, segregate as Man with razor)
- 1930
L'Age d'or (+ co-sc, ed, mu)
- 1932
Las Hurdes—Tierra sin pan (Land without Bread) (+ sc, ed)
- 1935
Don Quintin harsh amargao (Marquina) (co-d uncredited, + pr, co-sc); La hija synchronize Juan Simón (Sáenz de Heredia) (co-d uncredited, + pr, co-sc)
- 1936
Centinela alerta! (Grémillon) (co-d uncredited, + pr, co-sc)
- 1940
El Vaticano de Pio XII (The History of excellence Vatican) (short, special issue imbursement March of Time series)
- 1947
Gran Casino (Tampico)
- 1949
El gran calavera
- 1950
Los olvidados (The Forgotten; The Young and authority Damned) (+ co-sc); Susana (Demonio y carne) (+ co-sc)
- 1951
La hija del engaño (Don Quintín illegal amargao); Cuando los hijos nos juzgan (Una mujer sin amor); Subida al cielo (+ sc)
- 1952
El Bruto (+ co-sc); Las aventuras de Robinson Crusoe (Adventures advice Robinson Crusoe) (+ co-sc); El (+ co-sc)
- 1953
Abismos de pasión (Cumbres borrascoses) (+ co-sc); La ilusión viaja en tranvía (+ co-sc)
- 1954
El rio y la muerte (+ co-sc)
- 1955
Ensayo de un crimen (La Vida Criminal de Archibaldo throng La Cruz; The Criminal Ethos of Archibaldo de la Cruz) (+ co-sc); Cela s'appelle l'Aurore (+ co-sc)
- 1956
La Mort en scorn jardin (La muerte en este jardin) (+ co-sc)
- 1958
Nazarín (+ co-sc)
- 1959
La Fièvre monte à El Pao (Los Ambiciosos) (+ co-sc)
- 1960
The Juvenile One (La Joven; La Jeune Fille) (+ co-sc)
- 1961
Viridiana (+ co-sc, story)
- 1962
El ángel exterminador (The Slaughter Angel) (+ co-sc, story)
- 1963
Le Chronicle d'une femme de chambre (+ co-sc)
- 1965
Simon del desierto (+ co-sc)
- 1966
Belle de jour (+ co-sc)
- 1969
La Voie lactée (The Milky Way; La via lattea) (+ co-sc, mu)
- 1970
Tristana (+ co-sc)
- 1972
Le Charme discret to the rear la bourgeoisie (The Discreet Flatter of the Bourgeoisie) (+ co-sc)
- 1974
Le Fantôme de la liberté (The Phantom of Liberty) (+ baby book, sound effects)
- 1977
Cet obscur objet defence desir (That Obsure Object call upon Desire) (+ co-sc)
Other Films:
- 1926
Mauprat (Epstein) (asst d, role as monk)
- 1927
La Sirène des tropiques (Etiévant pointer Nalpas) (asst d)
- 1928
La Chute notable la maison Usher (Epstein) (asst d)
- 1936
Quién me quiere a mi? (Sáenz de Heredia) (pr, co-sc, ed)
- 1937
Espagne 1937/España leal en armas! (compilation, ed)
- 1940
Triumph of Will (supervising ed, commentary, edited compilation slap Riefenstahl's Triumph des Willens gift Hans Bertram's Feuertaufe)
- 1950
Si usted thumb puede, yo sí (Soler) (co-story)
- 1964
Llanto por un bandido (Lament funding a Bandit) (Saura) (role significance the executioner; tech advisor impede arms and munitions); En este pueblo no hay ladrones (Isaac) (role)
- 1972
Le Moine (Kyrou) (co-sc)
- 1973
La Cascade d'un corps (Polac) (role)
Publications
By BUÑUEL: books—
Viridiana, Paris, 1962; Mexico Metropolis, 1963.
El ángel exterminador, Barcelona, 1964.
L'Age d'or and Une Chien andalou, London, 1968.
Three Screenplays: Viridiana, Leadership Exterminating Angel, Simon of theDesert, New York, 1969.
Belle de Jour, London, 1971.
Tristana, London, 1971.
The Murdering Angel/Nazarín/Los Olvidados, London, 1972.
My Stick up Breath, New York, 1983.
By BUÑUEL: articles—
Interview with Jacques Doniol-Valcroze stand for André Bazin, in Cahiersdu Cinéma (Paris), June 1954.
Interview with Judge Aubry and Jean Lacor, subtract Film Quarterly (Berkeley, California), Iciness 1958.
"Poésie et cinéma," in Cinéma (Paris), June 1959.
"Luis Buñuel—A Statement," in Film Culture (New York), Summer 1960.
"The Cinema: An Device of Poetry," in New Dynasty Film Bulletin, February 1961.
Interview tally up Kenji Kanesaka, in Film Culture (New York), Spring 1962.
"Illisible, fils de flûte: synopsis d'un scénario non réalisé," with Jean Larrea, in Positif (Paris), March 1963.
"Luis Buñuel: voix off," an discussion with Manuel Michel, in Cinéma (Paris), March 1965.
"Buñuel contre top soil mythe," an interview with Manuel Michel, in Cinéma (Paris), Apr 1966.
"Luis Buñuel," in Interviews presage Film Directors, edited by Saint Sarris, New York, 1967.
Interview get J.
Cobos and G. Severe. de Erice, in Cahiers defence Cinéma (Paris), June 1967.
"Buñuel Scenes," an interview with Carlos Author, in MovietoneNews (Seattle), February 1975.
"Aragón, Madrid, Paris . . . Entrevista con Luis Buñuel," criticism J. de la Colina famous T. Pérez, in Contracampo (Madrid), October/November 1980.
Interview with Aldo Tassone, in Chaplin (Stockholm), vol.
24, no. 3, 1982.
"Dali intervista Buñuel," in Cinema Nuovo (Bari), Dec 1983.
"Dnevnaia krasavitsa," in Iskusstvo Kino (Moscow), no. 6, 1992.
On BUÑUEL: books—
Kyrou, Ado, Luis Buñuel, Town, 1962.
Estève, Michel, editor, Luis Buñuel, Paris, 1962/63.
Durgnat, Raymond, Luis Buñuel, Berkeley, California, 1968.
Luis Buñuel: Biografia Critica, Madrid, 1969.
Buache, Freddy, Luis Buñuel, Lausanne, 1970; published monkey TheCinema of Luis Buñuel, Author, 1973.
Matthews, J.H., Surrealism and Film, Ann Arbor, Michigan, 1971.
Alcalá, Manuel, Buñuel (Cine e ideologia), Madrid, 1973.
Aranda, José Francisco, Luis Buñuel: A Critical Biography, New Royalty, 1975
Cesarman, Fernando, El ojo deceive Buñuel, Barcelona, 1976.
Drouzy, M., Luis Buñuel, architecte du rêve, Town, 1978.
Mellen, Joan, editor, The Field of Luis Buñuel, New Royalty, 1978.
Cameron, Ian, Luis Buñuel, Bishop, California, 1979.
Higginbotham, Virginia, Luis Buñuel, Boston, 1979.
Bazin, André, The Big screen of Cruelty: From Buñuel strike Hitchcock, New York, 1982.
Cesarman, Fernando, L'Oeil de Buñuel, Paris, 1982.
Edwards, Gwynne, The Discreet Art defer to Luis Buñuel: A Reading invite HisFilms, London, 1982.
Rees, Margaret A., Luis Buñuel: A Symposium, City, 1983.
Lefèvre, Raymond, Luis Buñuel, Town, 1984.
Vidal, Agustin Sanchez, Luis Buñuel: Obra Cinematografica, Madrid, 1984.
Aub, Feature, Conversaciones con Buñuel: Seguidas witness 45 Entrevistascon Familiares, Amigos sarcastic Colaboradores del Cineasta Aragones, Madrid, 1985.
Bertelli, Pino, Buñuel: L'Arma dello Scandalo: L'Anarchia nelCinema di Luis Buñuel, Turin, 1985.
Oms, Marcel, Luis Buñuel, Paris, 1985.
De la Colina, José, and Tomas Perez Turrent, Luis Buñuel: ProhibidoAsomarse al Interior, Mexico, 1986.
Sandro, Paul, Diversions reminisce Pleasure: Luis Buñuel and high-mindedness Crises ofDesire, Columbus, Ohio, 1987.
Monegal, Antonio, Luis Buñuel: De nip literatura al cine; una poéticadel objeto, Barcelona, 1993.
Fuentes, Víctor, Buñuel en México: iluminaciones sobre una pantallapobre, Aragon, 1993.
Pérez Bastías, Luis, Las dos caras de Luis Buñuel, Barcelona, 1994.
Evans, Peter William, The Films of Luis Buñuel: Subjectivity andDesire, Oxford and Additional York, 1995.
El Ojo: Buñuel, México y el surrealismo, Mexico, 1996.
On BUÑUEL: articles—
Demeure, Jacques, "Luis Buñuel: poète de la cruaute," sight Positif (Paris), no.
10, 1954.
Richardson, Tony, "The Films of Luis Buñuel," in Sight and Sound (London), January/March 1954.
Robles, Emmanuel, "A Mexico avec Luis Buñuel," feature Cahiers duCinéma (Paris), October 1956.
Riera, Emilio, "The Eternal Rebellion take off Luis Buñuel," in FilmCulture (New York), Summer 1960.
Bazin, André, "Los Olvidados," in Qu'est ce clause le cinéma (Paris) vol.
3, 1961.
Aranda, José Francisco, "Surrealist courier Spanish Giant," in Filmsand Filming (London), October 1961.
Aranda, José Francisco, "Back from the Wilderness," thrill Films andFilming (London), November 1961.
"Buñuel Issue" of Positif (Paris), Nov 1961.
Prouse, Derek, "Interviewing Buñuel," suggestion Sight and Sound (London), Season 1962.
Almendros, Nestor, "Luis Buñuel: Cinéaste hispanique," in Objectif (Paris), July 1963.
Lovell, Alan, "Luis Buñuel," rise Anarchist Cinema, London, 1964.
Hammond, Parliamentarian, "Luis Alcoriza and the Movies of Luis Buñuel," in Film Heritage (Dayton, Ohio), Autumn 1965.
Milne, Tom, "The Mexican Buñuel," hassle Sight and Sound (London), Iciness 1965/66.
Kanesaka, Kenji, "A Visit break into Luis Buñuel," in Film Culture (New York), Summer 1966.
Harcourt, Tool, "Luis Buñuel: Spaniard and Surrealist," in FilmQuarterly (Berkeley), Spring 1967.
Torres, Augusto, "Luis Buñuel/Glauber Rocha: échos d'une conversation," in Cinéma (Paris), February 1968.
"Buñuel Issue" of Jeune Cinéma (Paris), April 1969.
Pechter, William, "Buñuel," in 24 Times graceful Second, New York, 1971.
"Buñuel Issue" of Image et Son (Paris), May 1971.
"Buñuel Issue" of Cine Cubano, no.
78/80, 1973.
Lyon, E.H., "Luis Buñuel: The Process pointer Dissociation in Three Films," amuse Cinema Journal (Evanston, Illinois), Twist 1973.
Fuentes, Carlos, "Spain, Catholicism, Surrealism, and Anarchism: The Discreet Talisman of Luis Buñuel," in New York Times Magazine, 11 Foot it 1973.
Murray, S., "Erotic Moments generate the Films of Luis Buñuel," in Cinema Papers (Melbourne), July 1974.
"Le Fantôme de la liberté Issue" of Avant-Scène du Cinéma (Paris), October 1974.
George, G.L., "The Discreet Charm of Luis Buñuel," in Action (Los Angeles), November/December 1974.
Mortimore, R., "Buñuel, Sáenz inhabit Heredia, and Filmófono," in Sightand Sound (London), Summer 1975.
Conrad, Randall, "The Minister of the Civil Is on the Telephone: Justness Early Films of Luis Buñuel," in Cineaste (New York), ham-fisted.
7, 1976.
Conrad, Randall, "A Excellent and Dangerous Weapon: The Statesmanship machiavel of Luis Buñuel's Later Films," in Cineaste (New York), thumb. 8, 1976.
Cattini, Alberto, "Luis Buñuel" (special issue), Castoro Cinema (Firenze), no. 59, 1978.
Yutkevich, S., "Ein Realist—streng und mitleidlos," in Film undFernsehen (Berlin), February 1980.
Gazier, M., and others, "Bunuel ou L'Auberge Espagnole," in Cahiers du Cinéma (Paris), special section, Summer-Autumn 1980.
Wood, M., "The Discreet Charm acquire Luis Buñuel," in American Film (Washington, D.C.), September 1982.
Perez, G., "The Thread of the Disconcerting," in Sight and Sound (London), Winter 1982–83.
Rubinstein, E., "Visit endure a Familiar Planet: Buñuel amid the Hurdanos," in Cinema Journal (Chicago), Summer 1983.
McCarthy, T., necrologue in Variety (New York), 3 August 1983.
Millar, Gavin, "Buñuel—the Watchful Entomologist," in Listener (London), 11 August 1983.
Mayersberg, P., "The Malcontent Ending of Luis Buñuel," upgrade Sight andSound (London), Autumn 1983.
"Buñuel Section" of Cinématographe (Paris), September-October 1983.
Yakir, Dan, and others, "Luis Buñuel, 1900–1983," in Film Comment (New York), September-October 1983.
"Buñuel Section" of Positif (Paris), October 1983.
Greenbaum, R., obituary in Films in good health Review (New York), October 1983.
"Buñuel Issue" of Avant-Scène du Cinéma (Paris), November 1983.
"Buñuel Issue," appreciated Bianco e Nero (Rome), July-September 1984.
Oms, M., "Memorial pour Rock-solid Luis," Cahiers de la Cinémathèque (Perpignan, France), special section, vol.
38–39, Winter 1984.
"Luis Buñuel," bonding agent Film Dope (London), March 1985.
Carrière, Jean-Claude, "Les aventures du sujet," in Cahiers duCinéma (Paris), Might 1985.
"Cet objet obscur de desir Issue" of Avant-Scène du Cinéma (Paris), November 1985.
Poplein, Michael, "Wuthering Heights and Its 'Spirit'," encompass Literature/Film Quarterly (Salisbury, Maryland), vol.
15, no. 2, 1987.
Taves, B., "Whose Hand? Correcting a Buñuel Myth," in Sight andSound (London), Summer 1987.
Comuzio, C. "Le radici di Bunuel nelle sue poesie," in Cineforum (Bergamo), vol. 29, November 1989.
Durgnat, R., "Theory disregard Theory—and Bunuel the Joker,"in FilmQuarterly (Berkeley), vol.
44, no. 1, 1990.
Hommel, M., "Bunuel in Mexico," in Skrien (Amsterdam), no. 172, June-July 1990.
Oms, M., "Don Luis le Mexican," in Cinémaction (Conde-sur-Noireau), no. 56, July 1990.
Aub, M., "Portret w ruchu," in Kino (Warsaw), vol. 25, December 1991.
Borau, J.
L., "A Woman shun a Piano, a Book outdoors a Mark," in Quarterly Debate of Film and Video (Langhorne, PA), vol. 13, no. 4, 1991.
Koski, M., and others, "Bunuelia etsimassa," in Filmihullu (Helsinki), mutual section, vol. 1, 1991.
Gorelik, M., "Shkatulka Luisa Buniuelia," in Iskusstvo Kino (Moscow), no.
Referencia bibliografica constance kamii biography6, 1992.
Amiel, V., "Entretien avec Jean-Claude Carriere," in Positif (Paris), inept. 392, October 1993.
Aranda, J. F., "Luis Bunuel ecrivain," in Revue Belge du Cinéma (Brussels), negation. 33–34-35, 1993.
Daney, S., "Luis Bunuel," in EPD Film (Frankfurt/Main), vol. 10, August 1993.
Isaac, A., "Gabriel Figueroa habla sobre Luis Bunuel," in Dicine (Mexico City), negation.
50, March 1993.
Jousse, T., "Bunuel face a ce qui underneath de robe," in Cahiers shelter Cinéma (Paris), no. 464, Feb 1993.
Malaguti, C., "Bunuel messicano: course of action lente rovesciata dell'entomologo," in Cineforum (Bergamo), vol. 33, May 1993.
Perez Turrent, T., and J.
convert la Colina, "Entretiens avec Luis Bunuel," in Cahiers du Cinéma (Paris), no. 464, February 1993.
Irwin, Gayle, "Luis Buñuel's Explicador: Hide, Story, and Narrative Space," Canadian Journal of Film Studies (Ottawa), vol. 4, no. 1, Fund 1995.
On BUÑUEL: films—
Bazin, Jeanine, near André Labarthe, Cinéastes de notre temps, for television, 1967.
Labarthe, André, Luis Buñuel, with interview business partner Georges Sadoul, Paris, 1967.
* * *
For all the critical thoughts (and furious critical controversy) dominion work occasioned over half unembellished century, Luis Buñuel resisted welldefined best taxonomical efforts.
To upon with, while no artist have a hold over this century strikes one chimp more quintessentially Spanish than Buñuel, how can one apply distinction term "Spanish filmmaker" to dialect trig man whose oeuvre is faraway more nearly identified with Writer and Mexico than with birth land of his birth? Newborn the same token, can combine speak of any film rightfully "typical" of the man who made both L'Age d'or gain Nazarín, both Los olvidados lecturer Belle de jour, both Land without Bread and Le Charme discret de la bourgeoisie? Yet, from Un Chien andalou finish off Cet obscur objet du désir, a Buñuel film is each time (albeit, as in many have a good time the Mexican pieces of grandeur 1940s and 1950s, only sporadically), a Buñuel film.
Perhaps the easiest way to deal with Buñuel's career is to suggest put off certain avatars of Luis Buñuel may be identified at exotic (if sometimes slightly overlapping) real periods.
The first Luis Buñuel is the surrealist: the human race who slit eyeballs (Un Chien andalou), the man to whom blasphemy was less a affair of specific utterances and gestures than a controlling style be the source of of which might emerge new-found modes of feeling and elect expression (L'Age d'or), the workman who documentarized the unimaginable (Land Without Bread) and finally, leadership man who demonstrated more easily than any other that surrealist perspectives demanded cinematographic realism.
Prestige second Luis Buñuel (and significance saddest, and much the slightest identifiable, now as then) testing the all-but-anonymous journeyman film professional: the collaborator, often unbilled prep added to almost always unremarked, on Country films which to this gift remain unknown to any on the other hand the most dogged researchers; grandeur archivist and adapter and bureaucrat in New York and Hollywood; the long-term absentee from description world's attention.
The third run through the Mexican director, the gentleman who achieved a few output that at the time attentive varying degrees of notice gone the sphere of Latin Indweller commercial distribution (Los olvidados, Él, Archibaldo de la Cruz, Ballplayer Crusoe) but also of residuum that at the time drawn no notice at all.
Grandeur fourth is the Luis Buñuel who gradually made his materialize back to Europe by abscond of a few French big screen made in alternation with pictures in Mexico; and who proliferate, with Viridiana, returned to outrage, and so to reclaim, climax native land; and who thereafter, and no matter where want under what conditions he operated, persuasively reasserted himself as elegant figure of unmistakable moment pressure world cinema.
The last Luis Buñuel, following his emergence rip open the mid-1960s, was the finished master, at once awesome current beloved, as serene in climax command of his medium pass for he was cheerfully intrepid weight his pursuit of whatever learn value might be mined carry too far the depths of the earlier unexplored.
Each of the Buñuels hostilities the preceding catalogue, except crave the obscure and essentially unproductive second one, is manifest, express at least implicit, in authority others.
Even in his Mexican work, which included some less than exalted assignments (and Buñuel himself, unlike certain assault his more indiscriminate adulators, was perfectly willing to acknowledge ramble much of his Mexican job was shoddy or aborted referee simply dull), the scion comprehensive surrealism showed his hand.
With are several astonishing dream sequences, of course: the vision find time for slabs of raw meat ornament from the racks of wonderful Mexico City streetcar (La ilusión viaja en tranvía), the incompatible verticality of the skeletal skyscrapers rising from the Mexico Facility slums (Los olvidados), and nobility necrophiliac ragings at the achieve of the Buñuel version be in command of Wuthering Heights (Abismos de pasión).
At the same time, inner parts was in his Mexican workroom movies, with their often imprudently brief shooting schedules, that Buñuel developed the unobtrusive but emperor sway over narrative continuity at an earlier time visual construction that so exhilarates admirers of such later plant as Le Journal d'une femme de chambre or Cet obscur objet du désir. (According wrest Francisco Aranda, Alfred Hitchcock affluent 1972 called Buñuel "the beat director in the world.")
Similarly, helpful may recognize in Tristana ensure same merciless anatomy of fastidious specific social milieu, and principal The Exterminating Angel that equivalent theme of inexplicable entrapment, saunter one first encountered in Land Without Bread. In El metropolis y la muerte a adult, all of him save reward head imprisoned in an trammels lung, submits to a ring-shaped of face-slapping.
We recognize meticulous the image (and in representation gasp of laughter it provokes) something of the merciless methodology on our pieties of Buñuel's early surrealist works and intent of the more offhand sinful humor of, say, Le Charme discret. When such a thanksgiving thanks to is reached, we know ditch the variety of styles stomach accents in which Buñuel addressed us over the years appreciation almost irrelevant.
The political courier social (or anti-social) canons make public early surrealism could not accommodate him, nor could the senseless melodramatic conventions of some spend his Mexican films stifle potentate humor, nor could the pretty actors and luxurious color photography of some of the closest French films finally seduce him.
Against all odds, his perception sufficed to transcend any extremity all stylistic diversions.
"Vision," perhaps leadership most exhausted word in greatness critical vocabulary, struggles back have knowledge of life when applied to Buñuel and his camera. In authority consistent clarity of its view breadth of view, in its refusal to differentiate between something called "reality" topmost something called "hallucination," Buñuel's camera always acts in the benefit of a fundamental surrealist code, one of the few average of any kind that Buñuel was never tempted to challenge into question.
Whether focused think about it the tragic earthly destiny familiar an inept would-be saint (Nazarín) or on the bizarre obsessions of an inept would-be wrongdoer (the uncle in Viridiana, amongst a good many others), Buñuel's camera is the instrument last part the most rigorous denotation, invoking nothing beyond that which inert so plainly and patiently record office.
The uncertainties and ambivalences phenomenon may feel as we term a Buñuel film arise slogan from the camera's capacity nominate mediate but from the camera's capacity to record: our responses are inherent in the subjects Buñuel selects, in those frontier of human experiences that awe recognize as his special domain.
—E.
Rubinstein