Regie:
Luis BuñuelKamera:
Albert DuvergerBesetzung:
Gaston Modot, Lya Lys, Max Ernst, Luis Buñuel, Paul Éluard, Claude Heymann, Jean Aurenche, Pierre Prévert, Jacques B. Brunius, Joaquín Roa, Juan Esplandiu (mehr)Inhalte(1)
Luis Buńuel's second film is a surreal attack on bourgeios ideals that incited a riot when first released and still retains its power to shock. Buńuel began the film as a collaboration with Salvador Dali, but after a few days working together the two had a falling out and Buńuel made the film himself, incorporating many of Dali's ideas. Its narrative follows two nameless characters, a man and a woman, through a series of scenes connected by dreamlike logic as they try, unsuccessfully, to make love. One memorable sequence finds the couple writhing around on a cliff when a mob of socialites comes upon them and pries them apart. Frustrated, the man sees a yelping poodle and kicks it into the air. (Verleiher-Text)
(mehr)Kritiken (3)
L'amour fou as the boldest motif of a film that is otherwise intentionally “broken” and devoid of narrative points of reference. Why waste time on the narrative when all you need to put the better society at unease are individual scenes and gags that seem to be taken from rather coarse slapstick? (I consider the kicking of the dog and the shooting of the boy, though gratuitously shocking, to be the peak of Buñuel’s feats of anarchy). Buñuel also dealt with the obstacles that civilised society places in the path of natural human needs in his later work, but he gave them a more modest form and subtly hid the phallic symbolism beneath the surface, whereas here he puts it front and centre with obsessive thoughts of sex. As his method he adopted entomological observation, with which The Golden Age begins. He limited direct interventions in the image and held back with the visual assaults (Un Chien Andalou begins with one such unforgettable assault) in favour of more subversive provocations such as bending genre rules, concealing what’s essential and exaggerating what’s marginal. Still, I wouldn’t condemn The Golden Age as the cold class (and generational) rebellion of a once hot-blooded Spaniard. No one has yet shot a more accurate scene about the fetishisation of the human body. 75%
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Kein Wunder, dass The Golden Age damals großes Aufsehen erregte. Der Schöpfer des (etwas) perverseren Andalusischen Hundes hat sich von den verdrehten Gedanken des Marquis de Sade inspirieren lassen und einen sehenswerten Film gedreht - auch wenn er nicht jedem gefallen wird (ich war nur halb überzeugt). Das zentrale Paar hätte unsympathischer nicht sein können, während die Interaktion zwischen dem Mann und der Frau - ungewollt - für eine gewisse Komik sorgte. Die Schlussszene mit dem heruntergekommenen Schloss a la Die 120 Tage von Sodom mit "Jesus" wurde vielleicht zu forciert in den Film eingefügt. Eine Art Vorahnung auf den späteren Pasolini.
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Luis Buñuel showcases the power of direction that has helped shape and transform it for the film. This is no longer just associative rambling, but this is already a film with a story, even though it may be difficult for you to find. However, the symbols that are here certainly are not denied and it works well. It has an effect on you, it does something to you, whether it's a cow in bed or a sinner in the form of Jesus.
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