La via lattea

This masterpiece is Bunuel at his best. It draws from the confrontational and revolutionary fire present in his Mexican films like "Il Brute", the intelligent and informed humor of his earlier religious farce, "Simon of The Desert", and I believe serves as a living picture of the transition his work seemed to under go between the more vivid and shocking Dali inspired surrealism of his early carrer (the obvious example being "Un Chien Andalou") and the more subtle and organic magical-realist influenced surrealism of "That Obscure Object of Desire". This film is certainly not light however. While there are no razor blindings or ant infested ears, the pope does fall victim to a firing squad of radicals. In fact I believe Bunuel succeds in leaving the viewer much more disgusted and upset by confronting him with the stark realities of the Catholic faith, and after all isn't that what surrealism is all about? It must be said that in order to understand and appreciate this film one must have a very good understanding of a variety of religious thinkers and of the history/practices of the catholic church. If you don't have such a background but are still lucky enough to get a chance to view this film, by all means take it, more likely than not it will inspire you to investigate the matter further and Bunuel conveniently mentions the names of all most all the writers he references in the film so take that list to a library, read up and watch it again, you won't be disappointed.

-He who commits sacrilege with an impious movie.

-Let him be an anathema!

By the late sixties,Louis Bunuel,who was an atheist,thanks to God,did not take himself seriously anymore.However this work ,"Le Charme Discret de la Bourgoisie" "Le Fantome de la Liberté" or "Cet Obscur Objet du Désir" were not that much different from "Nazarin " "Simon du Désert" "Viridiana" or "La Mort en ce jardin" .One thing Bunuel's oeuvre does not lack is unity.

"La Voie Lactée" deals with religion.If you've been brought up a catholic,if you have a good knowledge of the gospels ,it can help you appreciate such a film crowded with incident,taking place far away on a road with two pilgrims on their way to Spain (St Jacques de Compostelle),or long ago in Jesus Christ 's times.There is an ironical "documentary prologue" at the beginning of the film - a trick the great director had already used in "Hurdes" when,out of the blue,he began a lecture on the mosquitoes.And if the message is not clear enough,the last message reads "all documents,theories and quotes from the gospels " are historically accurate! In his final movies,Bunuel shows his great sense of humour;Jean-Luc Godard ,he is not.He is so much better!An intellectual director whose work is accessible to anyone.Whatever he films,a spoof on the wedding feast at Cana or George Marchal fighting a duel with Jean Piat (and one of them saying " My liberty is a phantom!!!) because of a disagreement about theology, students cursing the heathen ,he rules.

Bunuel tackles the Christian dogma :his priests and holier-than-thou characters such as the butler in front of his luxury buffet or the headmistress of the chic girls school are often contradicting what they said before .And the humble people they meet ask sometimes relevant questions ;dig this one: "what will become of the host (our Lord's body) in the human stomach?".And Bunuel does not confine himself to the Christian religion:"nowadays",the vicar says,"the entire world is catholic! " "What about the Muslims?the Jews?" "The Muslims ARE catholics;so are the Jews ,mainly the Jews." The scene of the crazy priest might have been borrowed from the Fernandel sketch of "Le Diable et Les Dix Commandements " by Julien Duvivier (1962).The scene at the inn,-perhaps inspired by Autant-Lara 's anti-clerical "L'Auberge Rouge"- with its priceless tale of a Virgin Mary's miracle and the mystery of the passing of the hours of the night will be used again in the "Fantôme de la Liberté" with gusto.

The cast is a who's who of the French actors of the era:Laurent Terzieff,an intellectual thespian ,is cast against type as an uneducated tramp (but the films suggest he might have been a revolutionary man);Edith Scob is the perfect Virgin Mary;Delphine Seyrig, the future stand out of "Le Charme Discret ..." has only three minutes to shine ,and she succeeds brilliantly .Plus Michel Piccoli,Julien Berteau,Alain Cuny,Bernard Verley,Denis Manuel,Pierre Clementi and many more.

Do go on a pilgrimage to Saint-Jacques de Compostelle with Luis Bunuel!

Le fantôme de la liberté (Buñuel, 1974) seems to take off right from this film as if it were a sequel, visually and conceptually. This film however is much more determined to denounce the contradictions and hypocrisy of different religions, while Fantôme has even more artistic freedom. Also this is much more coherent and if there is any danger of getting heavy-handed, Buñuel knows how to joke himself a way out using illusionism or a mild shock-treatment. It is simultaneously very rational and miraculous. The anti-clericism and subversive desires frequently come to the surreal surface. I can't help but see this as an inspiration for Monty Python's 'Life of Brian' (1979), because that film also remotely feels like an off the wall road movie in which anything can happen.

The subject matter was sort of tough for an atheist (heretic?) like me, but the humour with which Buñuel lets the characters throw the crucial differences between religions at each other is hilarious. E.g. in the middle of a duel between a Catholic and a Jesuit: 'Prior will is mere impulse. My thoughts and my will are not in my own power ... ma liberte est un fantôme.' 'What does freedom mean anyway? How can I be free if what I do is determined in advance?' etc. And why would all the personnel of a restaurant be caught up in an eloquent discussion about the existence of God while they are at work? See for yourself. Cinematographer Christian Matras (also Le Grande Illusion, 1937) continues to improve Buñuel's visual style using zoom-pan-zoom shots for instance, but keeps it sober.

9/10

The Milky Way is set in comparatively modern times. Two vagabond pilgrims make a journey to Spain. Specifically, to Santiago de Compostela. The remains of James the Apostle were thought to be interred there. On the way they meet various characters from different time periods. Including Jesus, the devil, the Virgin Mary, Jesuits, Jansenists, the Marquis de Sade, assorted clerics and a prostitute. All provide vignettes in which points of heresy are debated. People are routinely condemned to death or challenged to duels based on the fine shading of the wording of faith. It runs like a cross between Pilgrim's Progress and The Canterbury Tales, with just a touch of Life of Brian in passing.

But what puts the Milky Way in a class apart from most films of its ilk – even reverent biblical epics – is its careful adherence to the wording of the theological debates running through Christianity's history. According to Buñuel (who deserted Catholicism for atheism at the age of sixteen), "Besides the situation itself and the authentic doctrinal dispute it evokes, the film is above all a journey through fanaticism, where each person obstinately clings to his own particle of truth, ready if need be to kill or to die for it. The road traveled by the two pilgrims can represent, finally, any political or even aesthetic ideology."

Strangely, the film was welcomed on release both by Buñuel's anti-religious following and (to his embarrassment) the The Holy See itself. According to his biographer, Buñuel had planned for many years a film that would affirm his atheism, the intellectual scepticism he held towards a church he had renounced in his teens. Director and producer compiled a list of apostasies and repression and concluded that most heresies came from six areas of doubt: (1) The double nature of Christ. Was he God or man? God and man? God pretending to be man? (2) The Trinity; how can three natures co-exist in the same entity? (3) The Immaculate Conception. Mary, a virgin, was nevertheless Christ's mother. (4) Transubstantiation. Can bread literally become the body of Christ? Is this just a metaphor? (5) The problem of God's omnipotence. Is God all-powerful? If so, do we enjoy free will? (6) Evil. Did God create evil? "The list suggested no obvious structure, so they simply dramatized incidents illustrating the heresies, linking them with a pair of wandering modern pilgrims."*

Now if you've read this far, you may well already be interested in theology, whether as a believer or atheist, but it highlights one of the big shortcomings of the film. The psychopathology of Christianity is mainly of interest to its own theologians. While the film will just about hold you if you have already pondered such questions, others may be wondering why he spent so long dwelling on such bilge. Having dispensed, he claims, with such imponderables, is he simply exorcising old ghosts from his early teens? One religious-based reviewer wrote: "Whilst it's certainly sceptical about Christianity, the fact that it's been written by people who know their Catholicism inside out, and are not afraid to make a film that is inaccessible to those do not, means the film at least deserves some respect even if ultimately we disagree with its, somewhat tenuous, conclusions." It is a position with which I could only guardedly agree.

"One thing troubles me," says a young acolyte in one of the film's Spanish Inquisition periods. "The burning of heretics – may it not go against the will of the Holy Spirit?" The inquisitor replies, "It is the secular justice of men that punishes them. Not because they are heretics but for their sedition." Pushing his luck, the acolyte counters with, "But then, those whose brothers have been burnt will burn others, and so on. Each one believing he possesses the truth. Why these millions of deaths?" A stern glance and the acolyte desists – before he too is cast to the flames. (The logic seems more applicable to the constant conflicts between Islam and Christianity – or at least Palestine and Israel. In terms of burning people, the Catholic Church triumphed over every other brand of Christianity with unfettered brutality.)

Perhaps Buñuel found it amusing or even instructive to make this film. The millions of deaths, and the fanaticism that led to them, is not condemned. To the believer, perhaps they were God's will. But to this reviewer at least, Buñuel maybe falls short of his usual high achievements in elevating the good or bringing down hypocrisy. The Milky way is clever enough – even erudite – but ultimately an intellectual exercise rather than the powerful film it could have been.

*(nb - six areas of doubt are quoted from Baxter's biography of the director)

Two impoverished hobos travel on foot through France, en route to Santiago-de-Compostella, in Spain. They are on a spiritual pilgrimage. Along the way they walk into one self-contained story, absorb its value, then leave, only to walk into another self-contained story. The film's structure is thus episodic. And each episode or vignette highlights a parable about some facet of religious belief.

The encounters are set in different eras of history, as for example the time of the life of Christ, or the fourth century A.D. In each little story, inhabitants pontificate their certainty of religious belief that often contradicts other beliefs held with just as much certainty. Thus, differences in abstract religious dogma translate into aggressive and militaristic behavior, to stamp out opposing beliefs.

Throughout the dialectic narrative, a central theme seems to be the casting of doubt on old, rigid belief systems in general, and those of the Catholic Church in particular.

Visuals are competent, though fairly conventional. The script is talky. Acting and dialogue trend stagy and stilted. Music is irrelevant.

Aimed at an audience of the intellectually curious, "The Milky Way" is a message film that can be frustrating for viewers who want everything spelled out clearly. And that's the whole point. Contradictions and logical fallacies in belief systems ensure absolutely a lack of clarity; hence, a narrative journey, or way, that is confusing, opaque, cloudy, or ... milky.