Tagebuch einer Kammerzofe

This is the most straight-forward film I've seen by the surrealist master Bunuel, and despite its cryptic turn in the final moments, is funny, chilling, and a bit nasty. The story follows an urbane chambermaid from Paris who comes to work at the country estate of a repressed bourgeosie family. She weathers passes from every man in sight and deflects them, but for morally ambiguous reasons. Moral ambiguity is rampant, as it is so often in Bunuel's films, and spread liberally amongst all classes. It's subtly a film about selling out, except that nobody seemed to have any principles to begin with. Good fun. Now tell me what the ending was all about.

Bunuel's 'Diary Of A Chambermaid' was released in between two of his surreal masterpieces 'The Exterminating Angel' and 'Simon Of The Desert'. It is, on the surface at least, a lot more conventional as either of those, maybe that's why it doesn't get as much attention as it deserves. I don't know why it is rarely mentioned when people discuss the very best of Bunuel, but for me it's almost as great as 'Viridiana' and 'Belle De Jour'. The story was previously filmed by Renoir in the 1940s, but I haven't seen that version, so I can't say how different Bunuel's approach to the material is. As Bunuel claimed not to have seen it either I don't feel so bad. Jean Moreau, the beautiful star of Truffaut's 'Jules And Jim' and countless other Euro art film favourites, gives a brilliant performance as the enigmatic Celestine, maid to The Monteils, a very odd family living in pre-War France. Bunuel includes some of his usual comments about sexual deviance, and France's future under the Nazi occupation haunts the whole film, but what is most interesting to me about the picture is its subtlety and ambiguity. Like 'Belle De Jour' I think each repeated viewing will reveal more, and opinions on its meaning will depend on the individual viewer. Personally I'm still exploring Bunuel's extraordinary body of work. It is exciting doing so. I've probably only seen a third of his output so far, but I've yet to see a movie made by him that is less than fascinating. 'Diary Of A Chambermaid' just might be his most underrated film. I highly recommend it.

In the 30's, the witty, literate and quite sophisticated chambermaid Céléstine (Jeanne Moreau) comes from Paris to work for the dysfunctional Monteil family in the country, more specifically for the fetishist on shoes and maniac for cleaning Monsieur Rabour (Jean Ozenne). His daughter and mistress of the house Madame Monteil (Françoise Lugagne) is a frigid and arrogant woman, and her husband, Monsieur Monteil (Michel Piccoli), is a hunter and also a wolf with their maids. Their fascist and rude worker Joseph (Georges Géret) feels a sexual attraction for Céléstine, but she repels him. Their neighbor, Captain Mauger (Daniel Ivernel), has a problem with the Monteils and dumps his garbage in their yard, but Céléstine talks to him and is motive of gossips. When Monsieur Rabour unexpectedly dies, Céléstine quits her job but while in the train station, she finds that the girl Claire was found raped and murdered by the police. Céléstine returns to her job convinced that Joseph killed the little girl and trying to find evidences against him.

"Le Journal d'une Femme de Chambre" is a delightful movie of undefined genre – drama, black comedy, adventure? – where Luis Buñuel again exposes fight of classes, hypocrisy of both the bourgeois and the working class, a historical moment in France with the fascism growing, the ridiculous role of the clerical and an unsolved murder case. The story is centered in Céléstine, but the motives why a woman with her profile accepts a job in a rural area is never clear. The identity of the rapist and killer of Claire is also not disclosed, there is only a strong insinuation that Joseph killed the girl. The story is very ironic, like for example when Monsieur Monteil is informed that Céléstine and Joseph will marry and requires the sexual favors from Marianne; or the weird fetishism of Monsieur Rabour; or the priest asking for a new roof for the church to Madame Monteil; or the conclusion with Captain Mauger changing his will and serving the mistress and smart Céléstine on their bed. My vote is seven.

Title (Brazil): "O Diário de uma Camareira" ("The Diary of a Chambermaid")

This is only my second Bunel film (The Discreet Charm of the Bourgeoisie), and I am fascinated with the way he portrays the upper crust. here we have an odd family with some strange habits. Didn't you always think they were like that. It's the old joke about how you can determine class bu how two couples sit in a car. Lower class - men in front and women in the back; middle class husbands and wives sit together; upper class husbands sit with the other's wife.

Show fetishes, randy husbands, cold wives, rape and murder are all here amidst a fascist France. They are always going on about the republicans, ours would fit right in with the anti-semitism and xenophobia.

Among all this is the classic acting of Jeanne Moreau, a classy chambermaid, who is even willing to marry a fascist to prove him guilty of murder and rape. In the end, she turns out to be just an opportunist.

It would probably be more enjoyable knowing more about 1930s France, but it was still a classic.

Luis Buñuel, the man considered Spain's finest filmmaker and revered master of surrealism by both critics and film historians, made a surprising change of style in the first of the series of masterpiece she did in France during his last years. Taking out his usual surrealist set-pieces, he adapts Octave Mirbeau's revered novel about social classes in a very straight-forward fashion. However, this does not mean the movie is bad as many may believe; quite the opposite, "Le Journal d'eune Femme de Chambre" is a perfect showcase of Buñuel's finest film-making style, ambiguous and stylish, like the master's own vision of life.

The plot follows Celestine (Jeanne Moreau), an urban young woman moving to country in 30s France to work as a chambermaid for the Monteils, a rich family with a few dark secrets. As soon as she arrives, problems start as she tries to adapt to her new life with the bizarre Monteils. Between the constant advances of sexually insatiable Monsieur Monteil (Michel Piccoli), the always vigilant eye of his materialist wife (Françoise Lugagne) and the shoe fetish of old Monsieur Rabour (Jean Ozenne); Celestine makes her way through this collection of living portraits of the most bizarre human nature.

With a plot like this it would easy to believe this is a movie where the high class is demonized and the poor sanctified, but this is not the case here. Buñuel makes sure to have an ambiguity in every character, even in Celestine herself. There is no black and white, just different shades of gray, in a way similar to the beautiful black & white photography he uses here.

The photography is essential in this film; not only for aesthetic purposes, it represents the dark decadent days of 30s Europe, and the pessimism latent in both rich and poor people. As I wrote above, the shades of gray match perfectly the ambiguity of a group of characters with as many virtues as flaws. Buñuel and his cast manage to create believable and realistic characters.

Jeanne Moreau gives a brilliant performance as Celestine. As the beautiful young city woman highly intelligent and not without aspirations, her character has enough room to let her shine, and she really makes the most of it. Equally brilliant is Georges Géret as Joseph, the tough gardener with fascist ideals that has a secret agenda. The rest of the cast is also very good and together with the witty script complete a superb character-driven movie.

Buñuel's masterful direction creates a film that, while completely focused on the characters, is still filled with his usual symbolism. The edition and the camera-work are superb and way the camera seems to flow inside the house gives the film a voyeuristic feeling. No wonder why Buñuel consider it a very erotic film.

While many people consider this movie as one of his "lesser works", I consider it to be quite underrated, as it proved that Buñuel was a master not only of surrealism, but of film-making in general. 9/10