Frame Grab Mexican Cinema film: Bunuel Frame Grab Mexican Cinema
by Sean Spillane
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Frame Grab: Ensayo de un Crimen
“I was convinced that it was I who killed her. I assure you that morbid sensation gave me a certain pleasure.”
art film: Bunuel documentary French Cinema Google Video Mexican Cinema Spanish Cinema
by Sean Spillane
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Luis Buñuel: Cinéastes de notre temps
Via Shooting Down Pictures, which has a excellent round-up of critical responses to Ensayo de un Crimen
Mexican Cinema art film movie advertising: Bunuel Ensayo de un Crimen Ernesto Alonso Mexican Cinema Miroslava movie advertising movie posters
by Sean Spillane
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Ensayo de un Crimen
Ernesto Alonso was a colossal figure in Mexican television, a creator, producer, director, writer, and actor of many Mexican “telenovelas”, a key figure in that national form’s growth as an international phenomenon. I know him mainly as the lead in Buñuel’s Ensayo de un Crimen (The Criminal Life of Archibaldo de la Cruz). He also provided the narration to the very beginning of Los Olvidados, where he stated, very matter-of-factly, that “this film shows the real life… It is not optimistic. The solution of this problem is left to the forces of progress…”
Buñuel on Un Chien Andalou
You don’t get many chances to hear Buñuel’s voice. He speaks French here.
Mexican Cinema art film: Bunuel legs Mexican Cinema Silvia Pinal Viridiana
by Sean Spillane
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Silvia Pinal in Viridiana
One’s almost tempted to call Pinal the first great Buñuel blonde (the other, of course, being Deneuve), but I don’t think Don Luis was all that enamored by blonde tresses (like that other Catholic director who wouldn’t stop about Tristana’s wooden leg). Indeed, he was more of a leg man. Or a foot man. Or, more properly, a shoe man. Such were the preoccupations of men born at the cusp of the 20th Century.
More of Buñuel legs.
Y mas.
Y encluso mas.
Mexican Cinema art movie advertising: Bunuel Mexican Cinema movie advertising movie posters
by Sean Spillane
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Mexican Cinema art film movie advertising music: Bunuel Jorge Negrete Libertad Lamarque Mexican Cinema
by Sean Spillane
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Gran Casino
Buñuel’s first film in Mexico.
Coffee, coffee, and more coffee
Luis Bunuel – Obsesiones
Obsessions! We all have them, but the great ones tend to have them in spades. Think Hitchcock and his icy, unobtainable blondes; Fellini’s clowns holding up their crazy funhouse mirrors; Buster Keaton’s outsized mad machinery. Quite possibly, these great obsessions (from great obsessors) retain their freshness (while others seem to be flogging a dead horse) because these obsessions (or, better said, motifs) are irrevocably tied to their obsessed parents’ work or worldview, and, without this personal stamp, the work becomes, oddly, less unique. Or, this authorial preoccupation could be a crutch for budding auteurists everywhere (as some may point out).
More than other directors, the work of Luis Bu&tilden;uel is filled with such personal signposts and motifs. In an interesting experiment of film criticism (without any text except for film titles), El Centro Virtual Cervantes presents a collection of framegrabs from Bu&tilden;uel’s films, categorized by motif and, yes, obsession. Here, you find them all, from his preoccupation about insects;
faces at windows; the disfigured and handicapped; and the shapely turn of a woman’s leg. And, not to mention, his benign obsession with women’s shoes and his love-hate affair with the Catholic Church. There’s a lot here, so have fun!