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La edad de oro

Título original: L'Âge d'or
  • 1930
  • Not Rated
  • 1h
CALIFICACIÓN DE IMDb
7.2/10
15 k
TU CALIFICACIÓN
La edad de oro (1930)
ComediaComedia oscuraComedia pornográficaDramaSátira

Un relato surrealista de un hombre y una mujer enamorados apasionadamente cuyos intentos de consumar esa pasión son frustrados por sus familias, la Iglesia y la burguesía.Un relato surrealista de un hombre y una mujer enamorados apasionadamente cuyos intentos de consumar esa pasión son frustrados por sus familias, la Iglesia y la burguesía.Un relato surrealista de un hombre y una mujer enamorados apasionadamente cuyos intentos de consumar esa pasión son frustrados por sus familias, la Iglesia y la burguesía.

  • Dirección
    • Luis Buñuel
  • Guionistas
    • Luis Buñuel
    • Salvador Dalí
    • Marquis de Sade
  • Elenco
    • Gaston Modot
    • Lya Lys
    • Caridad de Laberdesque
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    7.2/10
    15 k
    TU CALIFICACIÓN
    • Dirección
      • Luis Buñuel
    • Guionistas
      • Luis Buñuel
      • Salvador Dalí
      • Marquis de Sade
    • Elenco
      • Gaston Modot
      • Lya Lys
      • Caridad de Laberdesque
    • 74Opiniones de los usuarios
    • 67Opiniones de los críticos
  • Ver la información de producción en IMDbPro
  • Ver la información de producción en IMDbPro
  • Fotos77

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    Elenco principal36

    Editar
    Gaston Modot
    Gaston Modot
    • The Man
    Lya Lys
    Lya Lys
    • The Woman
    Caridad de Laberdesque
    • Marquise' Chambermaid…
    Max Ernst
    Max Ernst
    • Bandit Leader in the Hut
    Artigas
    • Governor
    • (as Llorens Artigas)
    Lionel Salem
    Lionel Salem
    • Duke of Blangis
    Germaine Noizet
    Germaine Noizet
    • Marquise of X
    • (as Mme Noizet)
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    • Orchestra Conductor
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    Bonaventura Ibáñez
    • Marquis of X
    • (as Ibanez)
    Jean Aurenche
    • Bandit
    • (sin créditos)
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    Jacques B. Brunius
    • Passer-by in the Street
    • (sin créditos)
    Luis Buñuel
    Luis Buñuel
      Jean Castanier
      • Guest at the Marquis of X's Concert
      • (sin créditos)
      Juan Castañe
      • Bandit
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      Pancho Cossío
      • Lame Bandit
      • (sin créditos)
      Simone Cottance
      • Guest at the Marquis of X's Concert
      • (sin créditos)
      Marie Berthe Ernst
      • Guest at the Marquis of X's Concert
      • (sin créditos)
      Juan Esplandiu
      • Bandit
      • (sin créditos)
      • Dirección
        • Luis Buñuel
      • Guionistas
        • Luis Buñuel
        • Salvador Dalí
        • Marquis de Sade
      • Todo el elenco y el equipo
      • Producción, taquilla y más en IMDbPro

      Opiniones de usuarios74

      7.215.3K
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      Opiniones destacadas

      bob the moo

      Quite difficult narrative-wise and perhaps not quite enough in other areas to make it stronger but still interesting

      In the Tate Modern's "Dalí & Film" exhibition, the fourteen-odd rooms were mostly paintings but three or four had films of one kind or another. Having just seen Un Chien Andalou I decided to watch this one as well and was lucky to catch it just as it started. I say lucky because there is really nothing to tell you when these things are starting or ending. This is maybe OK with a short film that lasts seven minutes or a three minute clip from Spellbound but with a film that lasts an hour I really don't understand why the Tate didn't make at least a discrete effort to let us know start times – maybe it is beneath them to act like a cinema but it does mean that people were constantly flowing in and out and the implication is that the films can be just dipped in and out of.

      With this film though, you do need to be in from the start because, unlike Un Chien Andalou, there is more of a plot here and the film has fewer of Dalí's images across the running time. That said the plot here isn't any easier to follow if you did manage to catch it from the very start because this is still very much a surrealist film in structure and content even if it has fewer of the images that made the first film I'd seen so engaging. With Buñuel forming more of the film than Dalí, the film does take on more symbolism in less surreal ways but yet it is still quite hard to follow. To me as a viewer this was a bit of a downside because there was less to stimulate me and more to frustrate me as I struggle to understand the meaning of what I was watching.

      Despite this I still did find it interesting and you can see why (to a point) that the screening did draw a reaction from those that saw it as attacking conservative values in its depiction of violent attacks etc. Quite why it was hardly screened for fifty years though, I can't say. With a difficult plot to follow and an hour to watch, the film asked a lot of me and I'm afraid I wasn't really up to the challenge and I did struggle to follow along. The scattering of surrealist imagery did help to hold my attention though and it is not without value – just a lot harder to watch than I would have liked it to have been.
      9Quinoa1984

      Like walking into Bunuel and Dalis' brains and going through the doors they have wide open

      Luis Bunuel was a filmmaker of great imagination and scathing wit, and Salvador Dali was a magnificent, albeit demented, artist and painter. Combined they made Un Chien Andalou (The Andalousian Dog), a short-film that somehow made it through the decades to reach another generation after another. This is because surrealism, the field they were working in, was one that could be endlessly creative. Surrealists could and still can captivate, startle, amuse, primarily provoke and/or even delight an audience by the story elements and images that come right out of fantasy, both on the bright and dark/bleak side of things. L'Age D'Or was a chance for Bunuel to go further, and if his goal was to enlighten the audience as well as to stir the s***storm, he succeeded.

      In the first five to ten minutes of L'Age D'Or, I didn't know whether I knew exactly what was going on, or was totally boggled- the first images Bunuel puts forth are of scorpions (insects were one of his fascinations), and how they're shaped and how ferocious they can be. Then he cuts to some men who have guns by their side, walking through deserted rocks. THEN, after this, he cuts to a ship docking by the coastline where the guys with the guns were walking, and he never goes back to them again. Instead he focuses on one of the bourgeoisie men who is raping a woman, and who is dragged off into the imperial city. If you look at this story structure it doesn't seem to make sense - what is it that Bunuel and Dali are trying to get at here? It was when the rest of the story unfolded- with a particular bourgeoisie woman at a party who meets the man who was dragged off of the rocks- that I understood the logic I had first discovered in Un Chien Andalou and a later work of his, Discreet Charm of the Bourgeoisie.

      Bunuel doesn't just toss a bunch of ideas together and think that it'll all make sense. In the thought process of a dream - one with light-hearted moments with romance and wonderful music, as well as terrifying moments like a cow on a bed or a man shooting his son in broad daylight - L'Age D'Or works like a kind of clockwork. Though the last ten five minutes of the film did throw me off almost completely, by then I didn't care. I knew that, overall, Bunuel accomplished his goals of making a film that hypnotizes, repulses, opens the eyes a little wider, and almost gets one cross-eyed. With his attacks on whatever was considered decent, straightforward art in cinema, both political, sociological, psychological, and personal, there are many messages to be seen in the work. However, when it's looked at as a whole, this is simply a work of art, one that has to be interpreted by the individual. Like one of Dali's paintings, one could view the work as nonsense, the work of an amateur mentally masturbating for the viewer. One could even see it as being rather entertaining when looking at the human elements that come through from the actors and the actions that take place. And one could see it as meaning so much that it will take another couple of viewings to "get" what was being said.

      I turned off the movie feeling breathless, like being put through a washing machine of astonishing turns and emotions. At one point my jaw dropped, and then at the next point I smiled. To sum it up, I definitely want, and need, to see it again...one more note- this is a very, very hard film to find, one that has been kept out of circulation on video (it was also kept out of circulation in movie theaters for decades due to its controversies at the time of its release), but to seek it out is to take a chance that could equally pay off or disturb a particular viewer.
      7Ben_Cheshire

      Delicious Ahead-of-its-Time Black Comedy

      At least sixty years ahead of its time. This collection of surreal scenes satirising every possible social value you can think of and revelling in anything considered by the aristocrats to be vulgar was made with a delicious sense for black comedy, a taste for which would not become socially acceptable for sixty years. This movie caused riots on its first release in 1930, and was banned for forty years. If you see this on the program to be shown at an art gallery near you, like i did, you won't regret seeing it. Think of it as Salvador Dali and Luis Bunuel sticking their finger up at everything everyone else takes seriously, and laughing at their being offended. Seventy years later, the art gallery audience i was with were laughing along with Bunuel and Dali. This is about the most modern feeling thing you'll see from early cinema. I'll give you a sample: a couple are such nymphomaniacs, whenever they see each other, they can't stop from leaping on each other and writhing on the ground together. At one point in the movie, they are kissing, and all of a sudden he sees the foot of a statue behind her and is distracted by its beauty. He becomes dazed and zoned on the foot. She pulls away from him, tries to talk to him, he holds his hand up to her face as if to say: "hang on, just give me a minute." Then he feels compelled to leave her. Left on her own, mourning her momentary separation from her lustful partner, she begins sucking on the toes of the statue, as she was sucking on the fingers of her love a few scenes before. Camera cuts to a close-up of the statue's face, as if to check its reaction. The entire audience broke up at this. It was all too much. An absolute riot which can only be appreciated today as taking the p*ss out of every form of conservatism you can imagine.

      WARNING= it is at times disturbing. If you are at all feint-hearted, and can not separate movies from reality, especially surrealist movies from reality, then stay away.
      dbdumonteil

      a masterpiece of nonsense

      This film is often regarded as the best surrealistic film of all time. Like in his previous film "un chien andalou", Bunuel introduces us a film with a cock-and-bull screenplay. In this movie, he's using the power of his imagination and this is one of the surrealism's goals. The movie starts with a documentary on the scorpions, then some thieves are discovering four archbishops on the rocks, next, come the founders of Rome. Later, in Rome, a young woman is finding a cow on her bed; during a reception, in a beautiful castle, a tipcart full of workers is crossing the living-room and other weird events like these ones happen later..... It's easy to find out why this movie was forbidden for a long time in France (it was finally re-released in 1981). If you think that some elements of the story (if there is one!) like the four archbishops or the tipcart are funny, well they aren't. It's only his second film and Bunuel's showing us his obsessions: he's laughing at religion and upper middle class by ridiculing them and he is against the conformity. That's why his movie's got nonsense and even the title: why the Golden Age? However, behind all this nonsense, there is a love story between Gaston Modot and Lya Lys which is more sketched out than told.

      Moreover, the film also created a huge scandal due to the last sequence. It was inspired by the most horrible French novel: "les 120 journées de Sodome" by the Marquis de Sade (Bunuel used to admire him). This French writer's novels were forbidden for a long time due to their violence and their philosophy. In the movie, the scene created a double scandal because the count of Blangis's got the Christ' head! This film is incredible and fascinating due to the screenplay and its unexpected events. If you want to discover Bunuel's films, this one is a good start
      ThreeSadTigers

      An invitation for discussion; a surrealist delight

      I've always felt that it was somewhat unfortunate that the concept of a cinema presented as art has been largely abandoned in the last sixty years or so in favour of a cinema of wanton commodity. The idea that a film is little more than a consumer product intended to offer passive entertainment that won't require any kind of further thought or challenges for the viewer is incredibly sad, and inevitably leads to the endless regurgitation of codes, conventions, stories and images that we're currently seeing through the endless production of re-makes, literary adaptations and variations on TV. I suppose it depends largely on how you view the notion of "art" in an entertainment sense. I'd gather that very few of the people posting negative comments here would gladly spend the afternoon in an art gallery, not simply learning something about the artist and their work, but actually enjoying it. Many think of art as something incredibly serious; there to be admired from a distance without ever attempting to form a personal connection or engagement with it on an emotional or intellectual level. It is this attitude that leads to the various implications of the term "art film", which now has a number of incredibly negative connotations that suggest something po-faced and pretentious; the idea that these films should be sat through and looked at with no real appreciation for the sense of fun, frivolity and subversive glee that the filmmakers bring to their work or the ideas behind it.

      As one of the previous reviewer already noted, it was not Buñuel's intention for this film to be looked at as something entirely serious; though there are certainly serious ideas being expressed. Instead, you could approach it as something radical, like rock n' roll or punk music, with the idea of a cinema of revolution and defiance that goes against all accepted conventions of what cinema is and what cinema should attain to; as well as commenting on the nature of society - with all its bourgeois values and the (then) prevalent idea of religious hypocrisy - in a way that would inspire thought and provoke a reaction. You might not enjoy it as much as a more conventional film that offers a plot and a theme and characters you can believe in - and all presented in a way that is comfortable and safe - but the experience, for me at least, is as a hundred times more rewarding than the latest Marvel adaptation or exercise in Hollywood nostalgia. Look at the current films at the top of the US box-office and it becomes clear that films like L'Âge d'Or (1930) and the proceeding Un Chien Andalou (1929) have become part of the minority. Nonetheless, when we view this film within the context of something like Kung-Fu Panda (2008), You Don't Mess With Zohan (2008), Indiana Jones and the Kingdom of the Crystal Skull (2008) and Sex and the City (2008) - all currently top of the American box office - we can see the extent of how facile and meaningless much of contemporary cinema has become.

      It has never been my belief that a film requires a story or a character that we attach our own thoughts and feelings to, but rather, can survive simply as a platform for creative thought and artistic expression. The true power of cinema is in the sense that it is the only real art form that combines elements from every single separate art-form that you can possibly think of; from performance art, to photography, editing and design and of course, the various literary traditions that gave us the ideas of narrative and character. So, with L'Âge d'Or, we are presented with a mad jumble of images all flowing dreamlike from one scene to the next - sometimes boring, sometimes fascinating - often without interpretation or any kind of greater context outside of the broader notions of surrealism for the sake of it. It's still seen as something radical - perhaps even dangerous - seventy-odd years after it was first released, but really, its classic cinema in the traditional sense; e.g. a collection of abstract but penetrating images intended to be viewed by as many people as possible at the same time to create a shared and sensory experience. In this sense, the film is almost beyond criticism, or at least, beyond the higher intellectual/interpretative level of criticism that it normally receives, with the film standing as an ode to cinema at its most simple and sublime. All notions of intellectualism, or pseudo-intellectualism, are therefore thrown out of the window as the film transfixes us with some stunningly imaginative images that flicker to life on the screen.

      To seek answers from the film is missing the point, as there are no questions to be asked. The point of the film is not to entertain on the base levels of character, narrative and simple human emotions, but rather, to present us with something that we've never seen before. It's artist expression. If you have no interest in this then you'll have no interest in the film - which, although incredibly difficult and almost certainly not to all tastes, is still as close to the purest sense of cinema as you can possibly get. Some of the images are intended to shock, others to amuse and others to titillate and provoke thought, even when there seems to be nothing to really think about. Above all else, it is an experience, like all films, and one that is entirely visual and approachable on even the most immediate of levels. Don't think too much about it, or attempt to see something that isn't there. The point of surrealism was to go beyond such notions of the real and mundane to present something illogical, imaginative and devoid of rational thinking in order to find a new way of approaching the world. That's what this film represents.

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      • Trivia
        Luis Buñuel and Salvador Dalí had effectively fallen out by the time the film went into production to the extent that Dali refused to have anything to do with the actual making of the film. On the first day of shooting, Buñuel chased Dalí off the set with a hammer.
      • Citas

        Young Girl: I have waited for a long time. What joy to have our children murdered!

      • Versiones alternativas
        This film was published in Italy in an DVD anthology entitled "Un Chien Andalou", distributed by DNA Srl. The film has been re-edited with the contribution of the film history scholar Riccardo Cusin . This version is also available in streaming on some platforms.
      • Conexiones
        Featured in Visions: Cinema, Cinemas/Q & A with Paul Schrader/A Film Comment by Angela Carter (1982)
      • Bandas sonoras
        Ave Verum Corpus K. 618
        Written by Wolfgang Amadeus Mozart

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      Detalles

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      • Fecha de lanzamiento
        • diciembre de 1930 (Argentina)
      • País de origen
        • Francia
      • Idioma
        • Francés
      • También se conoce como
        • L'Age d'Or
      • Locaciones de filmación
        • Cabo de Creus, Girona, Catalonia, España(opening sequence - landscape)
      • Productora
        • Vicomte de Noailles
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        • USD 32,712
      • Fin de semana de estreno en EE. UU. y Canadá
        • USD 7,940
        • 1 feb 2004
      • Total a nivel mundial
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