El fantasma de la libertad

The master of surrealistic cinema, Luis Buñuel, changed his approach to the bourgeoisie after "Tristana", and his last three films are all comic and prevail through a mixture of pure surrealism, extreme irony and the one consistent theme of Buñuel's auteurship- hatred of the ruling classes.

"Le Fantôme de la Liberté" is perhaps Buñuel's least accessible work since his first two films, "Un Chien Andalou" and "L' Age d' Or". It is a thematic continuation of "Le Charme Discret de la Bourgeoisie", where the seven protagonists just couldn't finish, or even start, a meal. This is a strong metaphor for Buñuel's view that the bourgeoisie is a dying class, and that not even a violent revolution is needed to remove the bourgeoisie from power and wealth. They are perfectly capable of doing so themselves, through their indulgence in pathetic etiquette and decaying sense of morality. "Le Fantôme" is not funnier than "Le Charme", but it is harder to understand, and this is exactly what Buñuel and Carrière wanted after the success of "Le Charme" at the previous Academy Awards.

In "Le Fantôme", not even the characters are consistent throughout the film. This film is like a relay, where one member of the ruling class passes the stick to the next, and never comes back to the vision of the audience. They just leave, like Buñuel wanted them to, perhaps, but in this film is an important factor because it confirms Buñuel's non-human view of the people of this class. His was a collective hatred, and this film reflects his collective view of the bourgeoisie. The film contains absurd, surreal incidents, like priests playing cards while smoking and drinking, parents reacting to postcards of famous buildings given their daughter by a stranger as they were obscene and a writer killing tens of people from his sniping-position at the roof of a building. The writer is found not guilty, and the continuing mix-up of characters, two actors competing for one role makes for a very confusing narrative. Or maybe the "story" is just a mockery of traditional storytelling in film. Resnais and Robbe-Grillet made "Last Year in Marienbad" just to prove that telling stories is a bourgeois thing and not necessary for modernist or revolutionary cinema.

This film is actually based on a painting by Francisco José de Goya called "El Tres de Mayo" (The three in Mayo), and "Le Fantôme" starts with a short episode of how Buñuel depicts the incidents during the Napoleon Wars. But it's the theme of Goya's painting that Buñuel is concerned with, and this film is more than a mockery of the bourgeoisie, it is also an attack on communist doctrine which all over the world only seems to take from the people what is was supposed to give to the people: Freedom, and also an attack on leftist defeatism. The glorification of the defeat is perhaps the modern Left's biggest problem, which only leads to a move away from power. "Down with freedom!", Buñuel's revolutionaries shout- and the firing squads start firing at the dying revolutionaries.

One of Buñuel's greatest films. Scene after scene arguments are used as beautiful excuses to subvert reality and attack established and hypocritical institutions with acute humor and surrealist means. If you have a taste for surrealism and absurd humor (i.e. Monty Python, Marx Bros., etc.) this movie cannot be recommended enough.

One small correction: the sniper is not sentenced to death but to capital punishment which results in something altogether different from death (and far more sarcastic).

What can one say after watching "The phantom of liberty"? if you want to make films of your own, you can only be jealous with the power of Buñuel at directing the most simple everyday situations with a surrealist twist without thinking twice and flicking an eye. his hatred of the bourgeoisie is evident here even much more in then in his masterpiece "The discreet charm...". and the reason is: in that film there was a plot, a reason, a context which within things were happening, and the viewer could relate to things that happened earlier in the film. but in this picture there is no line, not one story, but stories that don't even intertwine with one another. just a collection of fragments, some strange, some funny, some totally impossible.

The freedom that Bunuel takes upon himself is backened with a lot of responsibility. one has to be responsible and not losing the viewer. but this freedom is exactly the same that he had as an artist while making "Un chien andalou", or "Archibaldo de la cruz". it's just that this time there is an attack at yet another bourgeoisie item: order. stories claim order. so is the ruling class.

So Bunuel and Carriere decided to attack the order of storytelling itself. it's a very tricky business to do on film, but if you understand the way dream works, no problem. let's go straight ahead. and so much fun is promised.

Just like any other Bunuel film, there are no special effects, no overwhelming shots, no camera or editing tricks. just an attack, there is no other way calling this, on reality of the mind, of the eye and of order of things. it is only when you release yourself from social rules that are false, fake and immoral, you can become free again. only when you see your fellow man and his suffering, you can become moral. only when you cry against social injustice, you can justify the revolution of humanity against greed and the wars it inflicted us into. if you'll keep on crying "death to freedom", you are in danger of becoming one of them bourgeois guys. and it's so easy, my god...

Bunuel's most strict surrealist film since L'age Dor is an amalgamation of strange backwards ideas flowing into one another. The little girl sequence is brilliant, as is the 'pervert' in the park how shows little kids 'obscene' pictures of.....famous national landmarks. "Just disgusting", a child's parent comments. This is the kind of film where a group of celebut monks join a card game, only to find themselves in the midst of kinky couple's bondage fetish. A man who's just been diagnosed with inoperable lung cancer is offered a cigarette by his doctor! And the piece de la resistance, families and friends defacating in public, only to leave the table to secretly cower in little private rooms where they can guiltily eat with no one watching. Inspiring to no end! This film made me go out and make my own surrealist video, even going to the trouble of shooting in the freezing cold and getting a severed pig's head for one scene. It's all for the sake of surrealist art!

There is no denying that "The Phantom of Liberty" is a flat out WEIRD movie filled with surrealist gags and head scratching visuals, but does that make it a good movie exactly? It depends on whom you ask, many film buffs are certainly huge fans of Bunuel's odd, quirky, and mindbending style while the casual viewer may simply dismiss his work as being pretentious nonsense disguised as "art". Personally, I side with the former view, and while watching "The Phantom of Liberty' I gleefully relished in Bunuel's bizarre glory. This certainly is not a film for those seeking a clear definable plot or a series of light, cliché jokes; instead, it is a wild ride through Bunuel's vast imagination. It is a series of comical scenes, much like Bunuel's previous work "The Discreet Charm of the Bourgeoisie", rather than being a film with any real plot. Similarly to Linklater's "Slacker", the film just follows character after character once the camera seems to get bored with them and their comical vignette is done. Otherwise, however, this film is nothing like "Slacker" and, instead, mostly mirrors every gem of surrealist comedy one could think of. It sort of works as a culmination of everything Bunuel has made as he shows off his signature style, aware that he is approaching the finale of his career. Sense is thrown out of the window and is replaced with ostriches, toilet bowls, and architectural imagery that is perceived as being pornographic. Bunuel playfully mocks religion as always, while also breaking countless taboos, stuffing his film with just enough violence and sex to both shock and amuse (often at the same time).