Le fantôme de la liberté

Although Bunuel was to make one more film,"cet obscur objet du désir" ,"phantom of liberty" would remain his testament,his last sigh ,to mention the title of his memoirs.

The key to the movie is the segment dealing with the naughty gendarmes,the sociology teacher and Margaret Mead's books.Law must not be taken for granted,it depends on where and when you live.Something which would seem unbearable to us is nothing but natural to other human beings.The whole movie walks this fine line,being built around this very concept.It is Bunuel's most accessible movie and it's completely mad,which is fine with me.Its construction is not unlike Max Ophuls's "la ronde" (1950) as a new character provides the connection between the segments.It's not really free-form ,in the sense of the nouvelle vague ,nothing Godardesque here and anyway,Bunuel possessed something Jean-Luc will never have:humor.And the screenplay displays care and respect for the audience.One should point out Jean-Claude Carrière's importance in Bunuel's last works in France.

In "discreet charm of the bourgeoisie" ,humor which was latent in the former works (the dogs in "Viridiana" ;the pineapple in "Nazarin" ) came to the fore."Phantom" is probably not as strong as the previous work:it's sometimes uneven and some segments (the old aunt and her nephew)drag on.But most of the times,it's a delight.Bunuel's usual targets ,the Church and the Army are both given a rough ride .But social conventions ,"normality" are too.

A bevy of great actors take us to a magical mystery tour (Bunuel's regret was that too many movies lack mystery) Here he focused on the secret of the passage of the night hours ,wherever the action takes place ,in Brialy's and Vitti's bedroom or the inn where the guests are weird to say the least (the scenes in the inn recall those of "la voie lactée,1969).And the ostrich in the couple's room ,we find it back at the zoo,for the finale,when repression rises.When we bury our head in the sand ,French people call it "ostrish politics"! Bunuel was a great man.Everything he did is crying to be watched.When the movie was released,probably upset by the huge commercial success ,some critics called it "Bunuel' s holiday homework".Time proved them wrong.In 2005,"phantom" is solid as a rock.

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!

Buñuel seems to be even more brilliant without the screenplays by Salvador Dali (un Chien Andalou, l'Age d'or, both 1930). Of course Jean-Claude Carriere is not a small name either, but Buñuel must be the great mind behind this masterpiece. Fantome seems to take off right from the premises of 'Le Voie lactee' (1969), as people seem to move in mysterious ways and mysterious things happen to them, there sometimes even seems to be time-traveling. Anything can happen along the way. But whereto leads the way? Who knows the direction and if so, does that direction make sense and to whom?

Yes, this film raises a lot of questions and that must be Buñuel's greatest power: question what you've always taken for granted. In any way, Buñuel continues his 'unrestricted creativeness' as someone on IMDb named it. Absurd, bizarre, subversive, anti-clericism, magic realism, surrealism, sophistry, you name it! Everything is in here. He seems to have returned to the experimental years (1929, 1930) completely. He probably thought he could get away with that because Charme discret de la bourgeoisie (1972) won an Academy Award for best foreign picture and Buñuel figured that everybody would be going to see this film, no matter how off the wall it was.

In Voie Lactee is a heated conversation between a catholic and a Jesuit about personal freedom that comes to a mysterious compromise when the Jesuit exclaims: 'Ma liberte est un fantom!' That is worked out here in Fantome de la liberte for a wider audience, in that we don't have to know much about the differences between catholics and Jesuits to be able to understand what's going on. Well, maybe most of the time. The other part it is just plain fun to watch and get your world turned upside down (That's why Catch-22 (Nichols, 1970) is my personal favourite film).

Cinematographer Edmond Richard (Charme discret de la bourgeoisie 1972, Cet obscure object du desir 1977) who should have won an Academy Award for 'Le Proces' (Welles, 1963) demonstrates that he can collaborate with Buñuel fabulously in Buñuel's last three films. Still I feel I'm missing the point of this film by a long shot. But that just gives me a reason to see it again soon! For now I'm just very thankful that someone recommended this to me.

10 points out of 10 :-)

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.

Through many episodes with some linking points since 1808 in Toledo (Spain) to the present days in France, Bunuel presents a delicious surrealistic satire to the moral and costumes of the hypocrite society, to the family values and to the church. I liked very much some parts, like, for example, the hypocrisy of the priests in a hotel, praying for the health of the father of a guest in a moment, and drinking and playing cards like gangsters in the next moment. The bourgeoisie family sat on toilets in the dining room and producing crap while having a conversation is fantastic, reflecting his opinion about the dominating class. The little girl that "vanished" for her parents is a great critics to the behavior of most families. The hypocrisy of the justice, reflected in the segment of the sniper. It is amazing the interpretations each segment offers to the viewer through the symbolism of Bunuel. However, this movie is recommend for very specific audiences. My vote is eight.

Title (Brazil): "O Fantasma da Liberdade" ("The Phantom of the Liberty")