Bunuel L'age D'or

Toledo in the 30s: The godfather of cinematic surrealism, Luis Buñuel, the poet Federico Garcia Loca and the painter Salvador Dalí are on a search for the mythical table of King Salomon, which is known to have the power to see in the past, the present and the future. Their scour paths them through hilarious moments of absurdity and lots of references to movie history.

En 1932 Luis Buñuel rodó en Extremadura su tercer trabajo como director, Las Hurdes, tierra sin pan, una de las películas malditas de su filmografía y documental pionero en nuestro país.
Fermín Solís retrata, en esta magnífica novela gráfica, un momento decisivo en la vida de Buñuel y quizá de todo gran creador: el dilema entre cultivar el arte por el arte o servirse de él como un medio para transformar la sociedad.

Guitarist Julian Lage has made previous appearances on Blue Note with the Nels Cline 4 on Currents, Constellations, and with Charles Lloyd on 8: Kindred Spirits. Squint marks his leader debut for the label with his working trio of bassist Jorge Roeder and Bad Plus drummer Dave King. This 11-song program contains nine Lage originals and two covers: the Mandel and Mercer standard "Emily" and Billy Hill's immortal "Call of the Canyon."

For a director like Luis Bunuel,this is a holding pattern movie.Bunuel is neither Costa Gavras nor Alan J Pakula and his political plot falls short of its goal.What's definitely lacking here is madness,the surrealism,almost present at least in one sequence,dear to the great Spanish artist.His art becomes ineffective when it deals with pure drama.The irony seems tamed,subdued.Maria Felix's part is sometimes some kind of Maupassant's "Boule de suif" (a character from the nineteenth century),sometimes some kind of thirties Marlene Dietrich (Sternberg's "dishonored").In a nutshell,originality is not this character's forte.Gerard Philipe (sadly,soon to die from cancer)is miscast and ill-at -ease ,in his part of "intellectual trying to sweeten the dictature".Nevertheless,he ended his career with something more commendable than the disastrous Vadim's "les liaisons dangereuses".

"Der diskrete Charme der Bourgeoisie" - Erbarmungslos verspottet Bunuel in diesem Film das Großbürgertum und führt uns von einem Fiasko ins andere.
"Das Gespenst der Freiheit" - Stärker als in anderen Spätwerken greift Bunuel hier auf seine surrealistischen Ursprünge zurück.
"Dieses obskure Objekt der Begierde" - Die Geschichte einer "amour fou", der ausweglosen Liebe eines alternden Mannes zu einem 18-jährigen Hausmädchen - das ist das indiskrete Thema von Bunuels letztem Film.