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Cela s'appelle l'aurore (English: This is Called Dawn) is a 1956 Franco-Italian film, directed by Luis Buñuel. It was written by Buñuel and Jean Ferry, based on a novel by Emmanuel Roblès.
Cela s'appelle l'aurore. Directed by: Luis Buñuel. Starring: Georges Marchal, Lucia Bosé, Julien Bertheau. Genres: Romance, Melodrama. Rated the #103 best film of 1956.
- (84)
- Georges Marchal, Lucia Bosé, Julien Bertheau
- Luis Buñuel
- Luis Buñuel
Synopsis. A generous doctor is aghast that the population of a small island is being oppressed and mistreated, but is seemingly unable to do anything about it, until the arrival of a young woman and the death of one of his friends prompts him into action. Cast. Crew.
- (535)
- Laetitia Film, Les Films Marceau
- Luis Buñuel
- Overview
- Life and work
- Legacy
Luis Buñuel (born February 22, 1900, Calanda, Spain—died July 29, 1983, Mexico City, Mexico) Spanish filmmaker who was a leading figure in Surrealism, the tenets of which suffused both his life and his work. An unregenerate atheist and communist sympathizer who was preoccupied with themes of gratuitous cruelty, eroticism, and religious mania, he wo...
Buñuel was born in Calanda, in northeastern Spain, the eldest of seven children. His father, Leonardo, made a fortune in Havana selling hardware and firearms, and he subsequently returned to Spain, married a much younger woman, and settled down to the life of a country gentleman. “The fact of the matter,” Luis later said, “is that my father did absolutely nothing.” Influenced by his mother, Buñuel studied violin and contemplated a career as a composer. He graduated from the Jesuit school in Zaragoza, Spain, where the family moved shortly after his birth, but he rejected religion and became a lifelong atheist.
Entering the University of Madrid (later Complutense University of Madrid) in 1917, Buñuel took rooms in its Residencia des Estudiantes. A hotbed of liberal thought, the Residencia attracted young men interested in art, music, literature, and politics. Buñuel befriended two rising stars, poet and playwright Federico García Lorca and painter Salvador Dalí. Fascinated with the natural world, particularly insects, Buñuel initially hoped to become an entomologist. Instead, his father insisted that he study engineering, a profession useful for a landowner and, moreover, respectable. Ultimately, however, he studied philosophy.
In 1925 Buñuel moved to Paris in order to pursue a position with the emerging League of Nations. The job fell through, but he remained in France, reviewing movies for Madrid papers while acting as an extra and production assistant on such films as Carmen (1926; directed by Jacques Feyder), the Josephine Baker vehicle La Sirène des tropiques (1927; Siren of the Tropics), and La Chute de la maison Usher (1928; The Fall of the House of Usher), which he also cowrote. Friends made on those films, particularly actor Pierre Batcheff and cinematographer Albert Duverger, later became his collaborators.
Determined to make his mark, Buñuel asked his mother for a sum equal to the dowries allocated to each of his sisters. He invested it in Un Chien andalou (1929; An Andalusian Dog), a short film in Surrealist style. Using the free-association technique pioneered by André Breton and Philippe Soupault, Buñuel and Dalí wrote the film, which Buñuel directed and Duverger photographed; Batcheff played a major role. Dalí arrived from Spain only for the last days of shooting and, according to some reports, was surprised by Buñuel’s efficient management of the production and resented the evidence that he could function without him. Their friendship subsequently cooled.
Breton approved Un Chien andalou and admitted both Buñuel and Dalí to his tight-knit circle of Surrealists. Wealthy dilettantes Charles and Marie-Laure de Noailles funded his second film, L’Age d’or (1930; The Golden Age), an assault on the repression of sex by organized religion. In one of its most-controversial scenes, Christ is seen leaving an orgy orchestrated by the Marquis de Sade. Before its release, MGM put both Buñuel and the film’s star, Lya Lys, under contract, shipping them to Hollywood. In their absence, right-wing protesters wrecked a cinema showing the film, the censor banned it, and the Noailleses fled Paris. Dalí also distanced himself from the film.
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The most controversial of filmmakers and the most reticent, Buñuel, almost uniquely among directors of his generation, pursued his vision in the face of commercial realities. Indifferent to profit, shunning possessions, he concerned himself solely with the act of creation. A surrealist to the last, his fidelity was to the unconscious and those impu...
- The Editors of Encyclopaedia Britannica
In 1963, actor Fernando Rey, one of the stars of Viridiana, introduced Buñuel to producer Serge Silberman, a Polish entrepreneur who had fled to Paris when his family died in the Holocaust and had worked with several renowned French directors, including Jean-Pierre Melville, Jacques Becker, Marcel Camus and Christian-Jaque.
Aug 20, 2007 · Luis Buñuel had a frightening fear of and a fearful faith in the power of film. His idea of the perfect motion picture was to project onto a blank wall, while sitting in a darkened room, the images that passed through one’s mind.
Jan 10, 2020 · He did nurture subsequent film projects, but decided to concentrate—with Carrière’s close assistance—on the composition of his marvelous autobiography, My Last Sigh (1982). One of its many delights is the revelation of the “ordinary,” even conservative Buñuel—the faithful husband and devoted father, the guy who even enjoys talking ...
