A provocative memoir from Luis Buñuel, the Academy Award winning creator of some of modern cinema's most important films, from
Un Chien Andalou
to
The Discreet Charm of the Bourgeoisie
.
Luis Buñuel’s films have the power to shock, inspire, and reinvent our world. Now, in a memoir that carries all the surrealism and subversion of his cinema, Buñuel turns his artistic gaze in
A provocative memoir from Luis Buñuel, the Academy Award winning creator of some of modern cinema's most important films, from
Un Chien Andalou
to
The Discreet Charm of the Bourgeoisie
.
Luis Buñuel’s films have the power to shock, inspire, and reinvent our world. Now, in a memoir that carries all the surrealism and subversion of his cinema, Buñuel turns his artistic gaze inward. In swift and generous prose, Buñuel traces the surprising contours of his life, from the Good Friday drumbeats of his childhood to the dreams that inspired his most famous films to his turbulent friendships with Federico García Lorca and Salvador Dalí. His personal narratives also encompass the pressing political issues of his time, many of which still haunt us today—the specter of fascism, the culture wars, the nuclear bomb. Filled with film trivia, framed by Buñuel’s intellect and wit, this is essential reading for fans of cinema and for anyone who has ever wanted to see the world through a surrealist’s eyes.
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Paperback
,
288 pages
Published
March 26th 2013
by Vintage
(first published 1982)
One of the great charming memoirs from an artist who I suspect wasn't that charming in real life. But Bunuel was such an incredible force in his medium that he worked in - the cinema. He had his up's and his down's (Dali not that great as a friend) but he took the cultural big surf as a great surfer - and basically made films that were incredibly unique, fun, and well...Fantastic. There is not one Bunuel that I don't love. And I also love this book as well.
i liked this book far more than i expected to. Bunuel is a story teller. and his autobiography is not a linear report on dates and names and places. instead it is very much a story weaving through time and very personal. like a conversation -where one thing leads to another- associations are made and we don't necessarily end up were we thought we were going to. and that is the joy of it.
plus i really relate to how Bunuel sees the world. his chapter entitled Still an Atheist, Thank God! in which
i liked this book far more than i expected to. Bunuel is a story teller. and his autobiography is not a linear report on dates and names and places. instead it is very much a story weaving through time and very personal. like a conversation -where one thing leads to another- associations are made and we don't necessarily end up were we thought we were going to. and that is the joy of it.
plus i really relate to how Bunuel sees the world. his chapter entitled Still an Atheist, Thank God! in which he gets rather philosophical ... well, i completely agree with pretty much every thing he has to say, so there is that. it's easy to enjoy reading a book that agrees with your world view right?
and, the time period he lives through and describes is one i am fascinated by. those years as w.w.one comes to an end. and the Russian Revolution is underway and then there is the Spanish Civil war. it's Hemingway and the expat generation in Paris - disillusioned by the war experimenting with life to forget about all the death there had been ... and it's Picasso and the Dadist and Surrealist movements wanting to rip tradition apart and let in new life. in the aftermath of w.w.one there was -for some- a great sense of hope .... that the madness they had been through would create a new world order. that is certainly the way the Russian Revolution began and i suspect the Surrealist movement as well, and it is heartbreaking to read about their failures. about the surrealist movement, Bunuel says: '...there is no doubt that surrealism was a cultural and artistic success; but these were precisely the area of least importance. Their aim was not to establish a glorious place for themselves in the annuals of art and literature, but to change the world, to transform life itself. This was our essential purpose, but one good look around is evidence enough of our failure.'
and finally, let's not forget that while i have only seen a handful of his films, i think he is a brilliant director. and a good writer. and he's a smart or rather thoughtful man. i just liked reading what he had to say. right to the very end - the chapter entitled, Swan Song - i just liked reading what he had to say.
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قراته في طبعته الأولى بعنوان (مذكرات بونويل) والعنوان الثاني أكثر دقة: أنفاسي الأخيرة.
يبدأ الكتاب بحدوتة بونويل عن أمه المصابة بالزهايمر، يعطيها المجلة لتفرأها، وتنتهي منها، تردّها له، ويعيدها لها مرة أخرى لتقرأها، وتتلقاها بنفس الإقبال.
ينتقل بعدها للحديث عن ذاكرته الخاصة، التي يعتبرها (كانت) قوية في شبابه، ويطرح جملة كانت أجمل ما في الكتاب عندي (أنا صاحب الذاكرة الضعيفة جدا)، يقول بونويل أن الأسوأ من النسيان هو الذكريات الزائفة، تلك الذكريات التي تكتشف إما عدم وجودها على الإطلاق، أو وجودها بشكل
قراته في طبعته الأولى بعنوان (مذكرات بونويل) والعنوان الثاني أكثر دقة: أنفاسي الأخيرة.
يبدأ الكتاب بحدوتة بونويل عن أمه المصابة بالزهايمر، يعطيها المجلة لتفرأها، وتنتهي منها، تردّها له، ويعيدها لها مرة أخرى لتقرأها، وتتلقاها بنفس الإقبال.
ينتقل بعدها للحديث عن ذاكرته الخاصة، التي يعتبرها (كانت) قوية في شبابه، ويطرح جملة كانت أجمل ما في الكتاب عندي (أنا صاحب الذاكرة الضعيفة جدا)، يقول بونويل أن الأسوأ من النسيان هو الذكريات الزائفة، تلك الذكريات التي تكتشف إما عدم وجودها على الإطلاق، أو وجودها بشكل يختلف عن ذكرياتك بخصوصها، ذلك السؤال جارح لأصحاب الذاكرة الضعيفة: هل ما حدث حدث فعلا؟
هنا تبرز الذاكرة كمكون أساسي (قد يكون الأهم) في علاقة الإنسان بالواقع، فالحاضر والمستقبل بشكل عام مترتبان على ماضي علاقتك به قائمة بشكل أساسي على الذاكرة، ماذا يحدث لو اختلت تلك الذاكرة؟؟
ذكريات بونويل ليست تفسيرا لشخصيته، ولا نقدا لأفلامه، وليست حتى قائمة للفخر بأصدقاء له كل الحق بالفخر بهم (الرجل كان زميلا لدالي ولوركا في المدينة الجامعية، وصديقا لأغلب المثقفين والسينمائيين في عصره)، المذكرات ليست كذلك كتابا جافا أو خالياً من المتعة الادبية، وإن مال أحياناً للملل في صفحات تتوالى فيها أسماء الأصدقاء والمعارف.
بونويل يتحدث في فصل الكتاب الأخير عن كتاب للموتى من أصدقائه، دفتر يسجل فيه أسماء المفقودين والموتى، وهو يتحدث عن ذلك ببساطة، يتعامل مع الموت بارتياح تام، بل يعلن أنه يتمناه، فقط يشعر بفضول طبيعي كملحد عن ماذا بعد، ولا تغادره الفكاهة حين يخطط لدعابة يجمع فيها أصدقائه من الملحدين حول فراش موته، ويمثل مضهدا عن عودته للإيمان.
هذا الكتاب _في نظري_ كتاب موتى بونويل الحقيقي، يسجل فيه كل المفقودات، أسماء الأصدقاء، والهوايات والسجائر، وانواع الخمور المفضلة، ودعاباته مع الإصدقاء، وأفلامه التي يحبها، وتلك التي يكرهها، يودع الكل في كتاب موتاه بنفس المرح الذي يكتب فيه عن الموت، فقط يتمنى أن يعود من قبره مرة كل 10 سنوات يطالع الجرائد للإطلاع على كوارث العالم قبل العودة إلى قبره.
Whimsical and full of digressions this memoir may not be the choice to make for one looking for a walk through Bunuel's life in film. What Bunuel gives us is a peek into his childhood in Spain, his life in the Surrealist movement, his experiences during the Spanish Civil War, his life in Mexico and Hollywood, and sprinkles in his many personal likes and dislikes, his thoughts on life and death etc. It's as if he wrote it less for the public and more for his descendants; for that great grand chil
Whimsical and full of digressions this memoir may not be the choice to make for one looking for a walk through Bunuel's life in film. What Bunuel gives us is a peek into his childhood in Spain, his life in the Surrealist movement, his experiences during the Spanish Civil War, his life in Mexico and Hollywood, and sprinkles in his many personal likes and dislikes, his thoughts on life and death etc. It's as if he wrote it less for the public and more for his descendants; for that great grand child who one day might wonder what the great filmmaker was REALLY like.
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Mi Ultimo Suspiro (seguramente el nombre de este libro fue decidido al final de la escritura del autor) es como una conversacion casual con el cineasta, como si un amigo como acostumbraban a ir al final de su vida, llegara a su casa y discutieran de los viejos tiempos. Probablemente esta conversacion la tuvo con Jean-Claude Carriere, que fue segun sus propias palabras, el guionista con el que mejor trabajo y el mas afin en cuanto a su vision y al final de su vida; Carriere es quien insistio en q
Mi Ultimo Suspiro (seguramente el nombre de este libro fue decidido al final de la escritura del autor) es como una conversacion casual con el cineasta, como si un amigo como acostumbraban a ir al final de su vida, llegara a su casa y discutieran de los viejos tiempos. Probablemente esta conversacion la tuvo con Jean-Claude Carriere, que fue segun sus propias palabras, el guionista con el que mejor trabajo y el mas afin en cuanto a su vision y al final de su vida; Carriere es quien insistio en que Buñuel escribiera un libro autobiografico y hacer varios ejercicios de memoria, a el, un octagenario surrealista, amante del licor y el tabaco, las tertulias parisinas y las peñas españolas, en los cafes de los 20's. Un hombre muy franco, un artista de lo usual, de lo cotidiano; escribe desde su niñez y las escenas de las que fue testigo y que alteraron su percepcion de la belleza, la religion (de familia catolica y estudiante de escuela jesuita) y la sociedad (tenia una gran afinidad con Karl Marx que dedico El Fantasma de la Libertad) y la vida/muerte como dualidad, lo cual era un tema comun en sus peliculas. Yo mismo desconocia lo vasto de su filmografia, y ya tengo algunas peliculas que ver y otras a volver a ver con otra perspectiva.
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Surrealism might seem quaint and old-world and outdated in our wired and up-to-the-second bottom-line universe, but there was a time when artists operated with a code of principles and pursuits as set out in life-and-death manifestos. Thank God Luis Bunuel—director of
The Discreet Charm of the Bourgeoisie
,
That Obscure Object of Desire
, that creepy, non-narrative movie where they slice open a pig's eye, those gritty depictions of Mexico City's impoverished underside, and the super sexy
Belle de
Surrealism might seem quaint and old-world and outdated in our wired and up-to-the-second bottom-line universe, but there was a time when artists operated with a code of principles and pursuits as set out in life-and-death manifestos. Thank God Luis Bunuel—director of
The Discreet Charm of the Bourgeoisie
,
That Obscure Object of Desire
, that creepy, non-narrative movie where they slice open a pig's eye, those gritty depictions of Mexico City's impoverished underside, and the super sexy
Belle de Jour
starring Catherine Deneuve—doesn't waste many paragraphs with the stale details of the self-evident so-called truths staked out by the surrealist party line.
Bunuel does lavish attention on the customs and countryside of the provincial Spain of his youth, on the peccadilloes of his famous friends and collaborators (indiscriminate flattery is not one of the author's faults), on the absurd gun battles, betrayals and executions of the Spanish Civil War, of Hollywood during its infancy, of Paris, Picasso and Salvador Dali. The auteur never met a patriotic display that didn't gag him out, and he shows no patience for the religions of modernity and technology. "Sometimes you just have to say shit to science."
And other times you just have to say yes to the philosophical memories and musings of a leading light from a gone breed, a movie director who continued making vital, quizzical, deep and entertaining movies full of delight and surprise well into his seventies. Somehow, the notion of your own last sigh is a little less daunting once you reach the end of
My Last Sigh
.
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I wasn't sure what to expect from this book. It is a memoir of the surrealist film maker Luis Buñuel. As a teenager, I was thrilled to explore the paintings of the surrealists. Later, in college, I saw Buñuel's Andalusian Dog and it expanded my appreciation of the cinema. But I wasn't sure how interested I would be in the life of Buñuel. Well, this book touches on so much of the world during Buñuel's life and it is fascinating. He writes in a very informal, conversational style.
Buñuel's memories
I wasn't sure what to expect from this book. It is a memoir of the surrealist film maker Luis Buñuel. As a teenager, I was thrilled to explore the paintings of the surrealists. Later, in college, I saw Buñuel's Andalusian Dog and it expanded my appreciation of the cinema. But I wasn't sure how interested I would be in the life of Buñuel. Well, this book touches on so much of the world during Buñuel's life and it is fascinating. He writes in a very informal, conversational style.
Buñuel's memories of his childhood are interesting accounts of his family and personal growth. But he describes the life and culture of the early 1900's in his town in northern Spain. He likens the culture of his early childhood as being still in the middle ages and provides plenty of examples to explain.
There is much insight into the early days and founding members of the surrealist art scene. I had no idea how political and at times violent the reaction to surrealism was in Paris and Madrid. Buñuel's second film, "L'age d'or" so outraged Paris viewers that it was banned for 50 years, only to reappear in theaters in New York in 1980 and in Paris in 1981. There is much in to book relating Buñuel's friendship with the surrealist painters Ernst, Dali, Tanguy, Arp, Magritte and others. They were a tight, active group meeting often to discuss and plan activities, much more concerned with changing the world than their art.
His accounts of his short time in Hollywood are interesting and humorous, as well as his many years in Mexico where he made most of his movies.
He helped me to place Buñuel and surrealism into their early time frame by watch L'age d'or for the first time (available on Netflix streaming).
I thoroughly enjoyed this book - a real surprise to me how much. I plan to see several more of his movies as a result of this book.
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review of
Luis Buñuel's
My Last Sigh
by tENTATIVELY, a cONVENIENCE - July 6, 2012
"
I'm not a writer, but my friend and colleague Jean-Claude Carrière is. An attentive listener and scrupulous recorder during our many long conversations, he helped me write this book.
"
When I 1st encountered the historical traces of Surrealism, probably in the early 1970s, maybe even earlier, it was very exciting to me. I've always loved the paintings. Then, over the yrs, Surrealism just started to seem like Breton
review of
Luis Buñuel's
My Last Sigh
by tENTATIVELY, a cONVENIENCE - July 6, 2012
"
I'm not a writer, but my friend and colleague Jean-Claude Carrière is. An attentive listener and scrupulous recorder during our many long conversations, he helped me write this book.
"
When I 1st encountered the historical traces of Surrealism, probably in the early 1970s, maybe even earlier, it was very exciting to me. I've always loved the paintings. Then, over the yrs, Surrealism just started to seem like Breton's takeover of dadaism & Breton's constant elimination of the people from the group for their various ideological 'infractions' rubbed me the wrong way. It seemed too authoritarian. Add to that that I found much of the writing disappointing in contrast to that of the proto-Surrealists like Lautréamont, Jarry, & Roussel & my interest in & enthusiasm for the Surrealists diminished. I've still loved the paintings, tho, & occasionally wd check out a Buñuel film I hadn't previously witnessed. Even Buñuel is someone whose work I've had varying enthusiasm for. I haven't liked many of the Mexican films very much, eg.
But, then, I got this bk, probably free from my moving-away friend Spat, & I started reading it in a desultory manner while recouping from an injury &, LO & BEHOLD!, I love Surrealism all over again & hope that I can find the 8 Buñuel films I haven't seen so that I can check them out! In fact, if I watch them more than once I'll be seeing them more than Buñuel ever did - according to this final statement of his.
1st, I must say, that sick of Surrealism or not, sick of Buñuel or not, "Un Chien andalou" is probably in my top 10 favorite films of all time - & many others of his are very dear to me indeed: "L'Age d'or", "Tierra sin pan", "The Exterminating Angel". "The Milky Way", "The Discreet Charm of the Bourgeoisie", "The Phantom of Liberty", & "That Obscure Object of Desire" being, perhaps, the main ones. The only Surrealist filmmaker being perhaps even
more
interesting to me being, perhaps, Jan Svankmajer.
Buñuel's career as a filmmaker having spanned the 50 yrs from 1928 to 1977 he's qualified to talk about 1st-hand experience w/ many aspects of film's development. A particular favorite of mine is the Explicator, the person who explains the movie as it's screened:
"In addition to the traditional piano player, each theater in Saragossa was equipped with its
explicador
, or narrator, who stood next to the screen and "explained" the action to the audience. "Count Hugo sees his wife go by on the arm of another man," he would declaim. "And now, ladies and gentlemen, you will see how he opens the drawer of his desk and takes out a revolver to assassinate his unfaithful wife!"
"It's hard to imagine today, but when the cinema was in its infancy, it was such a new and unusual narrative form that most spectators had difficulty understanding what was happening. Now we're so used to film language, to the elements of montage, to both simultaneous and successive action, to flashbacks, that our comprehension is automatic; but in the early years, the public had a hard time deciphering this new pictorial grammar. They needed an
explicador
to guide them from scene to scene." - p 32
Now, I love the idea of explication & have used it in the 21st century. Take, eg, my:
"
Satanic Liposuction, Neoasm?!, & YOU!!
" wch has a 'final' version revised to include screening footage from Orgone Cinema 1999 five projector version, 2000 Melbourne Super-8 Club version w/ explication & reel change tarot reading, 2007 Jefferson Presents explication from S. Cannon, John Allen Gibel & myself (tENTATIVELY, a cONVENIENCE).
& I think I can safely say that (v)audiences still often find my own movies difficult to understand
even w/ explication
b/c they're deliberately designed to stretch the attn & reference capacity of the human brain. What for some people is a fast succession of incomprehensible images is for others a succession of comprehensible reference points. I realize that even if there were to be a human being who cd talk fast enuf to 'explain' these references, it's unlikely there wd be anyone capable of following the speech. But that might change & I hope that movies like my own might contribute to that change.
Alas, as much as I loved this bk, I have to say that I was once again disappointed to find that someone whose work I respect was enabled to make it b/c of their wealthy family. The refreshing thing is how honest & direct Buñuel is about it. I became even more convinced that he was a true "Republican" (as in the Spanish Civil War sense).
"I remember my mother weeping with despair when, in 1928 or 1929, I announced my intention of making a film. It was as if I'd said: "Mother, I want to join the circus and be a clown." A family friend, a lawyer, had to be enlisted to convince her that there was a lot of money to be made in films. In fact, he pontificated, someone might even produce an interesting piece of work on the order of the spectacular Italian films about ancient Greece and Rome. (My mother allowed herself to be persuaded, but she never saw the film she'd financed.) - p 33
Ha ha! Buñuel & Dali's "Un Chien andalou" was financed by Buñuel's rich mom!!
"I was having a drink with Claude Jaeger at the Select in Paris one evening and became so outrageously rowdy that all the customers left. Only one woman remained behind. Not exactly sober, I made my way to her table, sat down, and started talking, announcing to her that she was Russian, that she'd been born in Moscow . . . and after a string of other details, we both simply stared at each other openmouthed - we'd never seen each other before!" - p 69
I particularly loved this story b/c a very similar thing happened w/ me. In 1985 or thereabouts I went on a date of sorts w/ a woman that I didn't know very well & we went to a bar & had some drinks. Given my love of extemporizing, I started rambling on w/ a story about her childhood in Italy - basically meant to entertain her. I was in just the right mode of relaxation that seems conducive to stream-of-consciousness hitting an unintentional mark. ANYWAY, she asked me how I cd possibly know all these things. My impromptu imaginary description of her childhood in Italy was accurate. I didn't even realize that she was
from Italy
. Alas, I've since asked this friend if she remembered that & she didn't - but I certainly do.
"Like the
señoritos
I knew in Madrid, most surrealists came from good families; as in my case, they were bourgeois revolting against the bourgeoisie." - p 107
"What fascinated me most, however, in all our discussions at Cyrano, was the moral aspect of the movement. For the first time in my life I'd come into contact with a coherent moral system that, as far as I could tell, had no flaws. It was an aggressive morality based on the complete rejection of all existing values. We had other criteria: we exalted passion, mystification, black humour, the insult, and the call of the abyss. Inside this new territory, all our thoughts and actions seemed justifiable; there was simply no room for doubt. Everything made sense. Our morality may have been more demanding and more dangerous than the prevailing order, but it was also stronger, richer, and more coherent." - p 107
Now I have mixed feelings about the above. It was all too easy for them to scorn existing moral systems insofar as they were mostly well-to-do & didn't have to interface w/ society in a more practical manner. They were spoiled brats, intelligent spoiled brats, but spoiled brats nonetheless. Just as I scorn William Burroughs' exalted example of the junkie, wch he cd afford as the scion of a wealthy family, so do I scorn any human who provides an example that doesn't acknowledge the level of privilege that enables it. But, to Buñuel's credit, Buñuel acknowledges his privilege & is also shown as a person whose ethics were deeply felt. & many of the Surrealists sincerely addressed socio-economic inequality by participation in the Communist Party. Many also left the CP by rejecting its narrow-mindedness & authoritarianism. Buñuel explains this well.
Nonetheless, the Surrealists bordered a bit too close for comfort to my mind to Nazism. The composer George Antheil claims that the Surrealists, who supported his music, punched people who didn't like Antheil's "Ballet Mechanigue" at its Paris premier. No doubt the Surrealists were reacting against the oppression of the stodgy to what they considered to be forces of progress. Nonetheless, I don't condone bulying by anyone - even people I agree w/ otherwise.
Surrealists made a practice of insulting priests. Buñuel, as a Republican, nonetheless reports even-handedly about the Spanish Civil War's extremities of anti-Catholicism:
"The priests and the rich landowners - in other words, those with conservative leanings, whom we assumed would support the Falange - were in constant danger of being executed by the Republicans. The moment the fighting began, the anarchists liberated all the political prisoners and immediately incorporated them into the ranks of the Confederación Nacional de Trabajo, which was under the direct control of the anarchist federation. Certain members of this federation were such extremists that the mere presence of a religious icon in someone's room led automatically to Casa Campo, the public park on the outskirts of the city where the executions took place. People arrested at night were always told that they were going to "talk a little walk."" - pp 151-152
Now, I'm an anarchist & I certainly support the Republican side of the Spanish Civil War & I absolutely DETEST religion. However, I
don't support
such mass executions. A selective assassination of Hitler, yes, wholesale executions of religious people or anyone else just b/c I disagree w/ them, NO! Does that make me a namby-pamby 'moderate'? Hardly. People are always in too big of a hurry to kill other people to make a 'revolution'. To me, a much more difficult revolution wd be one where people actually
agree to disagree
.
"Despite my ideological sympathies with the anarchists, I couldn't stand their unpredictable and fanatical behavior. Sometimes, it was sufficient merely to be an engineer or to have a university degree to be taken away to Casa Campo." - p 156
I respect Buñuel
not for being bourgeois
but for having the sense to recognize the social validity of the anarchist position
w/o having to endorse its extremities to 'show' how 'hard-core' he was
. He had the self-confidence to remain an individualist. The nazis thought they cd change the world by completely eradicating their 'enemy', the Jews. Anyone, who thinks they're going to 'improve' the world by killing off their enemies wholesale is thinking along the same lines as Hitler - despite propaganda bombast to the contrary. Killing the 'enemy' is the same old same old shit that humanity's been disastrously pursuing since day one.
"Then there was André Derain, tall, well-built, and very popular, who remained somewhat separate from the group [the Surrealists]. He was much older than I - at least twenty years - and often used to talk to me about the Paris Commune. He was the first to tell me about men being executed during the fierce repression led by the king's soldiers, simply because they had had calluses on their hands (the stigmata of the working class)." - p 122
Oi! I wonder if Pol Pot took inspiration from such stories - after all, he was french educated. The Khmer Rouge are reputed to've executed people for
not
having calluses.
"Bataille's wife, Sylvia, one of the most beautiful women I've ever seen, later married Jacques Lacan." - p 122
Small world.
"May 1968 was a series of extraordinary moments, not the least of which was seeing old surrealist slogans painted everywhere, slogans such as "All power to the imagination!" and "It is forbidden to forbid!" - p 125
"I told myself that if this had been happening in Mexico, it wouldn't have lasted more than two hours, and there would surely have been a few hundred casualties to boot, which is exactly what happened, of course, in October on the Plaza de las Tres Culturas. And yet in Paris a week later, everything was back to normal, and the great, miraculously bloodless, celebration was over." - p 125
"Like me, the students talked a great deal but did very little" - p 125
"Did very little"? Perhaps. Or perhaps they created some T.A.Z.s (Temporary Autonomous Zones, as Hakim Bey wd put it) & showed at least a little of what was possible
w/o having to kill anybody
- wch, as far as I'm concerned, is a great leap forward.
I've spent much of my life trying to actually
do
instead of fictionalizing about doing - & I've often been frustrated by the seemingly common preference for the fictionalization. But can I really blame people for playing it safe? In fiction, all sorts of havoc can be wrought
w/o its having to be real
.
"Since I knew the name of the leader of this terrorist group, as well as the hotel in Paris where he lived, I contacted the prefect, who was a Socialist, as soon as I got back to the embassy. He assured me that they'd pick him right up; but time went by, and nothing happened. Later, when I ran into the boss sitting happily with his friends at the Select on the Champs-Elysées, I wept with rage. What kind of world is this? I asked myself. Here's a known criminal, and the police don't want any part of him!" - p 162
Shades of Carlos anyone? While my choice of one paragraph out of a much more explanatory many may be confusing to the reader of this review, suffice it to say that terrorism has always & will always be primarily a tool of the state - no matter how it's propagandized otherwise.
In my review of
Surreal friends
I mention Edward James, a collector of Surrealist artwork. I also criticize the authors of that bk as politically naive &/or suspect. Buñuel's mention of James seems much more 'street-credible':
"The Englishman, Edward James, had just bought all of Dali's 1938 output, and did indeed want to give the Republicans am ultramodern bomber which was then hidden in a Czechoslovakian airport. Knowing that the Republic was dramatically short of air strength, he was making us this handsome present - in exchange for a few masterpieces from the Prado." - p 164
"Of course, this is risky reasoning. If our birth is totally a matter of chance, the accidental meeting of an egg and a sperm (but why, in fact, that particular egg and sperm among all the millions of possibilities?), chance nonetheless disappears when societies are formed, when the fetus - and then the child - finds himself subjected to its laws." - p 172
This is something Stanislav Lem explores in some detail, perhaps in
The Chain of Chance
, perhaps in
A Perfect Vacuum
, perhaps in
Microworlds
, perhaps in all 3.
"In the end, belief and the lack of it amount to the same thing. If someone were to prove to me - right this minute - that God, in all his luminousness, exists, it wouldn't change a single aspect of my behavior." - p 173
I'm reminded of a philosophical discussion I had w/ my friend Read. He made a good case for everything as totally predetermined by what goes before it, I probably debated for other possibilities. In the end, we both agreed that it ultimately didn't matter in terms of how we'd conduct our actual lives.
Buñuel tells a story about an autobiography of Dali's leading to Buñuel's losing a job in the US. He then meets Dali in NYC:
"He was a bastard, I told him a
salaud
; his book had ruined my career.
""The book had nothing to do with you," he replied. "I wrote it to make
myself
a star. You've only got a supporting role."" - p 183
"As unlikely as it may sound, I've never been able to discuss the amount of money offered to me when I sign a contract. Either I accept or refuse, but I never argue. I don't think I've ever done something for money that I didn't want to, and when I don't want to do something, no offer can change my mind. What I won't do for one dollar, I also won't do for a million." - pp 191-192
"Although I had excellent working relationships with my Mexican crews, I had to accept subjects I would normally have refused and work with actors who weren't always right for their roles. When all's said and done, however, I never made a single scene that compromised my convictions or my personal morality." - p 198
"On several occasions, both American and European producers have suggested that I tackle a film version of Malcolm Lowry's
Under the Volcano
, a novel set in Cuernavaca." [..] "Other directors besides myself have been tempted by the beauty of the story, but so far no one has made the movie." - p 194
John Huston made a film of it the yr after Buñuel died.
"My last abortive American project was the time Woody Allen proposed that I play myself in
Annie Hall
. He offered me thirty thousand dollars for two days work, but since the shooting schedule conflicted with my trip to New York, I declined, albeit not without some hesitation. (Marshall McLuhan wound up doing the self-portrait in my place, in the foyer of a movie theater.)" - p 194
I'm obviously posting my resumé on the wrong job boards.
"Disguise is a fascinating experience, because it allows you to experience another life. When you're a worker, for instance, sales people immediately suggest you buy the cheapest things; people are always cutting in front of you in line, and women never look at you. Clearly, the world simply isn't made for you at all." - p 227
I'm reminded of a Michael Moore tv show where he had a black scholar try to hail a cab at the same time as a white recently released convict of substantial criminal record. The black guy cdn't get a cab, the white guy had no problem. These are lessons that more people shd learn thru direct experience.
It's great to be a big deal director who makes 35mm films & gets them shown internationally.. BUT, then there's this:
"One other thing I do regret about this film are the cuts I had to make to please the censors, especially the scene between Georges Marchal and Catherine Deneuve, whom he addresses as his daughter when she lies in a coffin in a private chapel after a Mass celebrated under a splendid copy of one of Grünewald's Christs. the suppression of the Mass completely alters the character of this scene." - pp 242-243
Buñuel's last paragraph's ending wd make a great scene in a movie paying tribute to him:
"I'd love to rise from the grave every ten years or so and go buy a few newspapers. Ghostly pale, sliding silently along the walls, my papers under my arm, I'd return to the cemetery and read about all the disasters in the world before falling back to sleep, safe and secure in my tomb." - p 256
Luis Bunuel wrote the way he directed: sharp, sparing, and with a devilish wit. He focuses on what interests and amuses him, never gets lost in details. He doesn't offer a lot in the way of gossip and there are aspects of his personal life that he preferred to keep closed; see his films and make what you will of his religious and sexual obsessions. He doesn't scrutinize the meaning of his work -- there's a wide body of obscurantist film theorists who have taken on that task, if you're interested
Luis Bunuel wrote the way he directed: sharp, sparing, and with a devilish wit. He focuses on what interests and amuses him, never gets lost in details. He doesn't offer a lot in the way of gossip and there are aspects of his personal life that he preferred to keep closed; see his films and make what you will of his religious and sexual obsessions. He doesn't scrutinize the meaning of his work -- there's a wide body of obscurantist film theorists who have taken on that task, if you're interested -- but he remembers the illuminating incidents and details, reveals his working process, gives some sense of how inspiration works, and why faith in God always remained for him the biggest mystery of all. His films could be pitiless examinations of human cruelty and folly, but the man recalling his life in this wonderfully conversational memoir comes across as, dare I say it, gentle and humane. A humanist with a rapier.
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Es mi libro del año. Lo disfruté enormemente y me alegra haberlo encontrado de nuevo después de lo que pasó con el otro. No es pesado, es muy divertido y, aunque no se comulgue con las manías y los puntos de vista de Buñuel, resulta interesante ver su sencillez y gran inteligencia. La narración es fresca y vigorosa y algunos capítulos son como tomarse un coctel con él. Es una lástima que hable poco de muchas de sus películas (se entiende que odió muchas)y si se busca una explicación a las más in
Es mi libro del año. Lo disfruté enormemente y me alegra haberlo encontrado de nuevo después de lo que pasó con el otro. No es pesado, es muy divertido y, aunque no se comulgue con las manías y los puntos de vista de Buñuel, resulta interesante ver su sencillez y gran inteligencia. La narración es fresca y vigorosa y algunos capítulos son como tomarse un coctel con él. Es una lástima que hable poco de muchas de sus películas (se entiende que odió muchas)y si se busca una explicación a las más intrigantes, mejor lean otro libro porque éste se ahorra la interpretación. Volvería a leerlo muchas veces.
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A brilliant autobiography by my favorite director, Luis Buñuel. This book is full of great stories, not just from his life but also some fascinating insights into the surrealist movement and what was going on in Spain during the civil war. Much like his films this book is funny, shocking, and entertaining throughout. In particular I laughed at his outright dismissal of Steinbeck (who he hated just because an article he wrote), Dos Passos and Hemingway, who he thinks are only considered great wri
A brilliant autobiography by my favorite director, Luis Buñuel. This book is full of great stories, not just from his life but also some fascinating insights into the surrealist movement and what was going on in Spain during the civil war. Much like his films this book is funny, shocking, and entertaining throughout. In particular I laughed at his outright dismissal of Steinbeck (who he hated just because an article he wrote), Dos Passos and Hemingway, who he thinks are only considered great writers due to the power of the U.S. in the world (for the record, he's dead wrong about Steinbeck and Hemingway...I have yet to read Dos Passos). Overall, if you're a Buñuel fan, this book is essential reading.
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Este libro no testimonia la capacidad literaria de Buñuel; no lo escribió él, sino su amigo guionista Jean Claude Carriere
http://en.m.wikipedia.org/wiki/Jean-C...
). En cambio, sí evidencia la riqueza de su vida, así cómo la sicología de sus películas. Lo disfryté de principio a fin. Testigo de una época turbulenta narra sus peripecias en la Republica española, Guerra Civil, y vida como exiliado. Igualmente, sus andanzas con sus amigos surrealistas, formando ese trío tan especial junto con Dalí
Este libro no testimonia la capacidad literaria de Buñuel; no lo escribió él, sino su amigo guionista Jean Claude Carriere
http://en.m.wikipedia.org/wiki/Jean-C...
). En cambio, sí evidencia la riqueza de su vida, así cómo la sicología de sus películas. Lo disfryté de principio a fin. Testigo de una época turbulenta narra sus peripecias en la Republica española, Guerra Civil, y vida como exiliado. Igualmente, sus andanzas con sus amigos surrealistas, formando ese trío tan especial junto con Dalí y García Lorca, así como la muerte trágica del segundo y la ruptura con el primero. Ampliamente recomendable.
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Buñuelin omaelämäkerta oli viihdyttävää ja mielenkiintoista lukemista monellakin tavalla. Taiteilijanero-mielikuva sai kunnolla kyytiä, kun kirjaa kirjoittaessaan jo kahdeksankymppiseksi kerennyt Buñuel kirjoittaa pikkutarkasti monen sivun mitalla, kuinka hänen lempidrinkkinsä valmistetaan oikeaoppisesti ja monelta otetaan päivän ensimmäinen ja toinen/viimeinen hömpsy. Toki nuoruuden muisteloissa viivytään surrealismiporukoiden tempauksissa, mutta usein niissäkin on ilahduttavaa tavanomaisuuttaa
Buñuelin omaelämäkerta oli viihdyttävää ja mielenkiintoista lukemista monellakin tavalla. Taiteilijanero-mielikuva sai kunnolla kyytiä, kun kirjaa kirjoittaessaan jo kahdeksankymppiseksi kerennyt Buñuel kirjoittaa pikkutarkasti monen sivun mitalla, kuinka hänen lempidrinkkinsä valmistetaan oikeaoppisesti ja monelta otetaan päivän ensimmäinen ja toinen/viimeinen hömpsy. Toki nuoruuden muisteloissa viivytään surrealismiporukoiden tempauksissa, mutta usein niissäkin on ilahduttavaa tavanomaisuuttaa lähipubissa ryypiskelyineen ja yöllisineen keskusteluineen.
Buñuelin tuotanto saa ilahduttavan paljon tilaa ja kunkin elokuvan syntyprosessi käydään läpi. Oli erittäin mielenkiintoisista jäädä pohtimaan, miten kovinkaan monen elokuvan keskiössä ei ollut juoni, vaan surrealistinen miete, teema tai kohtaus.
Tietyissä kohdissa huomaa ajan kuluneen. Kun kirjoittaja pohtii elokuvaansa "Tämä intohimon hämärä kohde" ja sen kohtaamaa vastustusta (monet elokuvaa näyttäneet teatterit vandalisoitiin), hän tulee siihen tulokseen, että asialla olivat homoseksuaalit päätellen näiden jättämistä merkeistä. 2000-luvulla elävänä ei voi kuin ihmetellä, miten hajoitetuista konehuoneista voi päätellä vandaalin seksuaalisen suuntaumuksen.
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A funny, fascinating look at the life of one of cinema's most provocative directors, Luis Bunuel's My Last Sigh is a blast. He takes you through his early years in Spain, his time hanging with surrealists like Dali, Man Ray and Max Ernst and years in exile as a director in Mexico, usually with a sly joke and a good story or two.
Maybe there isn't enough about his movies - most are discussed only for a few sentences - but whatever the book lacks in explanations, it makes up for in digressions and
A funny, fascinating look at the life of one of cinema's most provocative directors, Luis Bunuel's My Last Sigh is a blast. He takes you through his early years in Spain, his time hanging with surrealists like Dali, Man Ray and Max Ernst and years in exile as a director in Mexico, usually with a sly joke and a good story or two.
Maybe there isn't enough about his movies - most are discussed only for a few sentences - but whatever the book lacks in explanations, it makes up for in digressions and stories. And they're here in bunches. Between tales of his life, Bunuel lays out his rules for the perfect martini, explains his religious beliefs (best summarized by the chapter title "Still an atheist... thank God!") and bashes the writings of Steinbeck and Hemingway.
When he does show a look at his creative method, it's alternately insightful and confusing. He explains how the infamous eyeball scene in Un Chien Andalou came from a dream where the Moon was split by a cloud, where the title of The Exterminating Angel came from and why he cast two different actresses in the same role in That Obscure Object of desire. Other times, he falls back on his old surrealist tricks: The Milky Way "is neither for or against anything at all," he writes. Yeah, sure.
Reading The Last Sigh feels like having a loose, rambling conversation with Bunuel. He moves back and forth, weaving between outlandish tales - there's a few hair raising ones about Chaplin here - insights into some of cinema's most subversive movies and fun asides on just about anything he fancies. Recommended, especially if you enjoy his movies.
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Last night I had the pleasure of seeing David Sedaris at the Academy of Music here in Philly. I haven't read his last two books, being a little burned out on his writing but in person, reading, he is hilarious.
Several of the pieces he read made me laugh til there were tears and stomach cramps but I knew in my heart that the root of my laughter was embedded in the films and sensibilities of Sr. Bunuel. Another reason to feel the real solitude of experience, eh?
Let's let that one
I adore Bunuel.
Last night I had the pleasure of seeing David Sedaris at the Academy of Music here in Philly. I haven't read his last two books, being a little burned out on his writing but in person, reading, he is hilarious.
Several of the pieces he read made me laugh til there were tears and stomach cramps but I knew in my heart that the root of my laughter was embedded in the films and sensibilities of Sr. Bunuel. Another reason to feel the real solitude of experience, eh?
Let's let that one go though, for now.
In any case, I did not finish this. I just have too many other books to read and a life to live and I'd rather watch his films right now than pursue the details of the life he imagines he lived. Not to say he isn't very interesting and intelligent and fun or at least the times in which he lived...were...
Anyway. Watch the films, it's the films!
Did I mention he and I have the same birth day? grin.
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Like his films, Bunuel's memoir is a free floating contemplation of many things including martinis, guns, surrealism, cinema, cultures, cities and landscapes. Confession: I admire the films more than the man. But he is undoubtedly candid, refreshingly so. His conflicted relationship to communism and to the Church makes fascinating reading. He is a mixture and a mystery; with this I suspect he would concur. He offers no great insights into his work, but then he does not intend to offer insights.
Like his films, Bunuel's memoir is a free floating contemplation of many things including martinis, guns, surrealism, cinema, cultures, cities and landscapes. Confession: I admire the films more than the man. But he is undoubtedly candid, refreshingly so. His conflicted relationship to communism and to the Church makes fascinating reading. He is a mixture and a mystery; with this I suspect he would concur. He offers no great insights into his work, but then he does not intend to offer insights. His purpose is to think about memory and its connection to his fantasies and dreams. He is a dreamer of the first order. Dreams infiltrate his life, both waking and sleeping. How then can they not infiltrate his films? What I have always admired about Bunuel, aside from the sheer exuberance of his cinema, is the strengthening imaginative energy that comes with age.
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La autobiografía del cineasta Luis Buñuel - dícese co-escrita con su amigo guionista Jean Claude Carriere - es la mirada genial a una vida genial, desde su infancia en España, sus días de estudiante en París junto a Dalí y García Lorca, sus comienzos en el surrealismo (el libro funciona perfectamente como manifiesto surrealista), la Guerra Civil en España, el exilio de Buñuel a Estados Unidos, sus absurdos roces con Hollywood, pasando por su vida y obra en México y concluyendo con su retorno a F
La autobiografía del cineasta Luis Buñuel - dícese co-escrita con su amigo guionista Jean Claude Carriere - es la mirada genial a una vida genial, desde su infancia en España, sus días de estudiante en París junto a Dalí y García Lorca, sus comienzos en el surrealismo (el libro funciona perfectamente como manifiesto surrealista), la Guerra Civil en España, el exilio de Buñuel a Estados Unidos, sus absurdos roces con Hollywood, pasando por su vida y obra en México y concluyendo con su retorno a Francia, donde dirige sus "obras cúlmines" como
Belle de jour
y
Le discret charme de la bourgeoisie
.
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Began to read this book 9/13. Continuing with the book 9/14, this may be one of the most exciting books I've read in awhile. Bunuel attended a Catholic school for most of his learning and was fluent in Latin and French in addition to Spanish, his native tongue. His father was well off. When he finally wanted to make movies, it was like telling his family he wanted to join the circus, as film was a relatively new art.
He talks for about a page on the films he likes, including Clouzot's Manon (one
Began to read this book 9/13. Continuing with the book 9/14, this may be one of the most exciting books I've read in awhile. Bunuel attended a Catholic school for most of his learning and was fluent in Latin and French in addition to Spanish, his native tongue. His father was well off. When he finally wanted to make movies, it was like telling his family he wanted to join the circus, as film was a relatively new art.
He talks for about a page on the films he likes, including Clouzot's Manon (one of the few Clouzots I haven't seen!).
A quote that I find extremely relevant to film connoisseurs from Bunuel: "You can argue forever about the content of a film, its aesthetic, its style, even its moral posture; but the crucial imperative is to avoid boredom at all costs" (p. 244, My Last Breath).
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From the cinema's greatest giver comes the most interesting and engaging autobiography I have ever read. Instead of boring us with focused reflections of his past, Buñuel tells the story of his life in fragments. He worries not about being linear and instead tries to relay his favorite memories and experiences through the same unique voice that carries all of his films. He never goes on about any one of his movies for more than a few pages, but these creative insights are invaluable, and shed li
From the cinema's greatest giver comes the most interesting and engaging autobiography I have ever read. Instead of boring us with focused reflections of his past, Buñuel tells the story of his life in fragments. He worries not about being linear and instead tries to relay his favorite memories and experiences through the same unique voice that carries all of his films. He never goes on about any one of his movies for more than a few pages, but these creative insights are invaluable, and shed light on the stories I already enjoy visiting so often. From his magical childhood memories to his extravagant surrealist lifestyle to his adventures in America to his touching last sigh, this is an emotionally sweeping journey and an absolute treasure for fans of Buñuel.
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Un libro que me ha gustado más de lo que había imaginado. Ese tono casual, que nos recuerda cualquiera tarde de visita y anécdotas con un buen amigo. Relatos desde su niñez hasta el final, Buñuel nos deja ver parte de su mundo “mágico" y sin duda, nos da otra versión de sí mismo y sus películas.
No puedo creer lo mucho que me gustó este libro. Disfruté cada momento de él. Amé acompañar a Buñuel por la España de su infancia, por el inicio de sus relaciones con los del 27, con la descomposición de su relación con Dalí, con los recuerdos que lo atormentaban al imaginar la muerte de García Lorca.
Buñuel fue un hombre de contradicciones tremendas y éstas pueden percibirse en cada página del libro. De verdad, de verdad, corran a comprarlo, acompañen cada anécdota de éste con algún poema, con
No puedo creer lo mucho que me gustó este libro. Disfruté cada momento de él. Amé acompañar a Buñuel por la España de su infancia, por el inicio de sus relaciones con los del 27, con la descomposición de su relación con Dalí, con los recuerdos que lo atormentaban al imaginar la muerte de García Lorca.
Buñuel fue un hombre de contradicciones tremendas y éstas pueden percibirse en cada página del libro. De verdad, de verdad, corran a comprarlo, acompañen cada anécdota de éste con algún poema, con sus películas, vean cómo él dice que una historia es una historia y no un tratado para psicoanalizarse. Es maravilloso. Neta. Me enamoré.
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One of my personal heroes tells the story of his life in a fascinatingly ordinary way.
I read "My Last Sigh" for the first time in 1998 when it was published in Bulgaria. I remember how pleasantly surprised I was. As a cinema student who was aware how inaccessible Buñuel's movies could be, I expected something hard to read. But pretty soon I realized I couldn't have been more wrong. It's one of those biographies which feel like they were written not for the public but for the author himself. It's
One of my personal heroes tells the story of his life in a fascinatingly ordinary way.
I read "My Last Sigh" for the first time in 1998 when it was published in Bulgaria. I remember how pleasantly surprised I was. As a cinema student who was aware how inaccessible Buñuel's movies could be, I expected something hard to read. But pretty soon I realized I couldn't have been more wrong. It's one of those biographies which feel like they were written not for the public but for the author himself. It's a story of self exploration, of contemplation, and closure. The unpretentious and simple style in which it was written makes you forget about the famous author and focus on what matters most -- his journey through space and time.
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Breve e interesante autobiografía del mejor director de cine español de la Historia en la que se recoge su visión del mundo y distintas experiencias personales, como anécdotas de rodajes y con personajes célebres de la época. Obra imprescindible para humanizar al genial director y comprender sus motivaciones artísticas. Un genio de bases psicológicas y culturas mucho más humildes de lo que se podría pensar, Buñuel fue un hombre sumamente inteligente pero humilde y trabajador. En muchos aspectos
Breve e interesante autobiografía del mejor director de cine español de la Historia en la que se recoge su visión del mundo y distintas experiencias personales, como anécdotas de rodajes y con personajes célebres de la época. Obra imprescindible para humanizar al genial director y comprender sus motivaciones artísticas. Un genio de bases psicológicas y culturas mucho más humildes de lo que se podría pensar, Buñuel fue un hombre sumamente inteligente pero humilde y trabajador. En muchos aspectos fue un modelo a seguir.
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Picked up at a garage sale and being a filmmaker yet having only heard of Mr Bunuel but never having seen his films or learned much about him I felt sort of an obligation to learn more. I had no idea what to expect but as I read I found myself caught up in the author's journalistic, rambling style of writing. Why this is not a diatribe on 'filmmaking' as I feared it might be but in fact, the honest observations of an interesting person who has lived a rather extraordinary life.
Surrealist film director. He was born in Calanda, in Aragón province. When 17, he moved to Madrid to study History at the university. He entered in the Stutent's residency, where he late met Dalí and Lorca. In Madrid he participated in intelectual movements like ultraism. After finishing his studies, he moved to Paris, a more interesting city. There he learned how to direct films from french silen
Surrealist film director. He was born in Calanda, in Aragón province. When 17, he moved to Madrid to study History at the university. He entered in the Stutent's residency, where he late met Dalí and Lorca. In Madrid he participated in intelectual movements like ultraism. After finishing his studies, he moved to Paris, a more interesting city. There he learned how to direct films from french silent cinema masters.
So influenced by Fritz Lang, he decided to direct his own films. By the time he was also so influenced by surrealism and the Marquis of Sade. Among his friend Salvador Dalí writed a script for a very shocking film, 'Un chien andalou', that was quite an event in french intellectual world. This success got the attention from vicount Charles Noialles, very intersted in arts, who payed his next film: l'Age d'or. This film was a big scandal, being first censored and then forbbiden for almost 50 years. After contacting with Hollywood companies, he started working in France for them. When the spanish civil war started, he supported the repulican government. But before second world war started, he moved to New York.
In the States he started to work in the cinema section from the Museum of Modern Art (MoMa). An autobiographical writing by Dalí made him out because he commented that Buñuel was an atheist and a communist. Later he moved to México
In México, in the 1940s, after meeting an actress from his first films in a dinner, he could start directing mainstream films. By this way, he could enter in the mexican film industry and after a while, he could start working in other films more accurated to his own interests and themes. His peak in Mexico was "El Ángel exterminador", released in 1962.
When his return to France, in the mid of the 1960s, he started his most brillant period. Films like 'Belle de jour' and 'The Discreet Charm of the Bourgeoisie' are between his best works.
He died in Mexico DF in July 29th, in the year 1983, when he was 83 years old.
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