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IMDbPro

Via Láctea

Título original: La voie lactée
  • 1969
  • M
  • 1 h 42 min
AVALIAÇÃO DA IMDb
7,3/10
8,4 mil
SUA AVALIAÇÃO
Claude Cerval, Alain Cuny, Paul Frankeur, François Maistre, Edith Scob, Laurent Terzieff, and Bernard Verley in Via Láctea (1969)
ComédiaDramaSátira

Dos vagabundos à peregrinação da França até Santiago de Compostela na Espanha. Ao longo do caminho, faça carona, comida e enfrente dogmas cristãos e heresias de diferentes idades.Dos vagabundos à peregrinação da França até Santiago de Compostela na Espanha. Ao longo do caminho, faça carona, comida e enfrente dogmas cristãos e heresias de diferentes idades.Dos vagabundos à peregrinação da França até Santiago de Compostela na Espanha. Ao longo do caminho, faça carona, comida e enfrente dogmas cristãos e heresias de diferentes idades.

  • Direção
    • Luis Buñuel
  • Roteiristas
    • Luis Buñuel
    • Jean-Claude Carrière
  • Artistas
    • Paul Frankeur
    • Laurent Terzieff
    • Alain Cuny
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    7,3/10
    8,4 mil
    SUA AVALIAÇÃO
    • Direção
      • Luis Buñuel
    • Roteiristas
      • Luis Buñuel
      • Jean-Claude Carrière
    • Artistas
      • Paul Frankeur
      • Laurent Terzieff
      • Alain Cuny
    • 28Avaliações de usuários
    • 45Avaliações da crítica
  • Veja as informações de produção no IMDbPro
  • Veja as informações de produção no IMDbPro
    • Prêmios
      • 1 vitória e 1 indicação no total

    Fotos26

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    Elenco principal54

    Editar
    Paul Frankeur
    Paul Frankeur
    • Pierre Dupont
    Laurent Terzieff
    Laurent Terzieff
    • Jean Duval
    Alain Cuny
    Alain Cuny
    • L'homme à la cape
    Edith Scob
    Edith Scob
    • La Vierge Marie
    Bernard Verley
    Bernard Verley
    • Jésus
    François Maistre
    François Maistre
    • Le curé fou
    Claude Cerval
    Claude Cerval
    • Le brigadier
    Muni
    Muni
    • La mère supérieure
    Julien Bertheau
    Julien Bertheau
    • Richard 'maître d'hôtel'
    Ellen Bahl
    • Madame Garnier
    Michel Piccoli
    Michel Piccoli
    • Le marquis de Sade
    Agnès Capri
    • La directrice de l'institution Lamartine
    Michel Etcheverry
    • L'inquisiteur
    Pierre Clémenti
    Pierre Clémenti
    • L'ange de la mort
    Georges Marchal
    Georges Marchal
    • Le jésuite
    Jean Piat
    • Le comte janséniste
    Denis Manuel
    Denis Manuel
    • Rodolphe, un étudiant protestant
    Daniel Pilon
    Daniel Pilon
    • François, ami de Rodolphe
    • Direção
      • Luis Buñuel
    • Roteiristas
      • Luis Buñuel
      • Jean-Claude Carrière
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários28

    7,38.3K
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    Avaliações em destaque

    Ben_Cheshire

    The cheeky "L'Age D'Or" Bunuel in full attack-mode!

    There are two Bunuels: the cheeky Bunuel who makes movies filled with blatant symbolism and surrealism attacking religion and sexuality, and the narrative Bunuel, who makes more subtle films which approach these same issues in more mature ways.

    The first Bunuel, the Bunuel of L'Age D'Or and Un Chien Andalou, was definitely at work on this project. The coherent narratives of Los Olivados, Criminal Life of Archibaldo de la Cruz, Exterminating Angel or even Discrete Charm of the Bourgoise.

    Bunuel loved ambiguity and abstraction. He loved making people feel uncertain of things in all his movies - yet many of them maintain a serene, smooth surface nonetheless - there may be dream sequences in them, and things out of the ordinary happening, yet they don't jump around in the madcap way this movie and L'Age D'Or do, constantly making the viewer adjust to a new scene with seemingly no relation to the last, which is afterwards resolved when the pilgrims appear and reinstate continuity.

    The two pilgrim characters are our tour guides through a patchwork of historical vignettes involving important religious events.

    The highlight of the film for me was when a priest is talking to a man and a woman through a locked door, locked on the advice of the innkeeper presumably to keep the chaplin from coming into their rooms and preaching to them, and the chaplin is talking to them about how Mary could have given birth and remained a virgin. He thinks of an example of this: like light coming through a window. Bunuel cuts from the priest sitting outside the room to the couple inside the room, and suddenly the priest is sitting inside the room talking to he couple. In the next shot, he is outside, and the following shot, inside again. A superb example of cinematic irony.

    I'm actually not quite sure what i thought of the film - its certainly not among my favourite Bunuels (Discrete Charm of the Bourgoisie, Exterminating Angel, Los Olivados, L'Age D'Or), but its the sort of film that clearly rewards repeat viewings. As another reviewer commented, a knowledge of religious history reaped rich rewards from it, which makes me wish i knew a little more than i did.

    Clifford's Commendations: Like with any Bunuel film, if you're christian, and you get it, you won't like it! If you're not christian, it'll help if you know some christian history to get all the laughs and satire on offer. Without this knowledge, from personal experience, the film has fruits to offer, but you won't enjoy it as much as many other Bunuels.
    rogierr

    Buñuel takes a few high caliber shots at religion and chastity

    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
    8jzappa

    Simply By Taking the Catholic View of History and Heresies, Bunuel Has Created a Work of Surrealism.

    It's not a film that has all the answers. It's a film that casts doubt on all the answers we've had. Early in the film we hear the line, "A religion without mystery is not a religion at all. A heresy that denies a mystery can attract the weak and the shallow, but can never blot out the truth." My ears perked up. I was keenly interested in a film that was going to confront both religion and its opposition head on.

    Two modern-day travelers are on the road as the film opens, from Paris to Spain. It's the customary episodic framework of the poor enduring as transient vagabonds feeling purpose in heading in a particular direction. It's also the even more customary fable of the wandering adventurer and his companion in search of revelation and virtue. Spanish-born absurdist filmmaker Luis Bunuel juxtaposes these narrative customs into a sort of cinematic reality existing in a unique dimension. The pilgrims are contemporary but time and space chaperon them in a continual instant and an all-encompassed earth science.

    The protagonists of blasphemy and tradition portray their ideals in age-old Palestine, in the Europe of the Middle Ages, in the Age of Reason, and in today's hotels and fashionable restaurants, and on its boulevards. The Holy Virgin, her son Jesus and his young brothers, an arrogant ecclesiastical headwaiter and his submissive workers, a bleeding child by the roadside, the pope facing a firing squad, the Whore of Babylon ambushing ramblers, the Marquis de Sade, the Jansenist fencing with the Jesuit, Satan himself decked out as a rock star, an overzealously formal schoolmarm and her programmed little students chanting anathemas, self-righteous bishops and demented priests on the lam, this panoramic cast of characters, in itself a smirking take-off of Hollywood's epic ensembles, somehow expresses the barren conceptions of Christian dissent. Is there such a thing as the Holy Trinity? Was Christ God, man, and Holy Ghost one after the other, at the same time, or was he invariably just God the Father disguised as a human, so as to be seen? Was Jesus solely the mortal embodiment of a supreme spirit? Was his anguish then just facade? Because if he experienced pain at the hands of mortals, was he a god? Was Christ merely a smidgen of God's psyche? Are we free to discern between the exploits of Jesus the man and the teachings of Christ the god? Was Christ indeed two men, one born of God the Father, the other of Mary the Mother? Did Mary become pregnant in the same manner that light exceeds through a window glass? Did Jesus have brothers?

    As Buñuel conceives visual substance to these religious contemplations, he does so with far- flung ability in banter and farce. The escaped lunatic believes that Christ is in the host like the rabbit is in the pâté. The pope's death by firing squad is something we'll never see. The debate of doctrine by the hostile maître d' and his waiters is in the royal practice of slapstick comedy. The dueling clerics clanking swords for Jesuitical piety and Jansenistic sin are a comic rendition of the vintage MGM swashbuckling jousts pared down to knowingly meaningless and irrational argument.

    However, side by side with the broad comical tone, Buñuel is here tussling with the inconsistencies between faith and faithlessness. The young heretic who dons the hunter's garb and shoots at the rosary receives it back from the hands of the Virgin Mary and lets tears cascade down his heretical face. Really, as Pierre tells Jean when lightning strikes, God knows all, but we don't know what he knows. Buñuel apparently favored scenes which could just be pieced together by the ends in the editing room, producing long, mobile wide shots which follow the action. He aggregates all of these significations and implications into a streaming, uninterrupted visual existence recognizing the curious obscurities of both the comformists to the approved form of Christianity and the professed believers who nonetheless maintain contrary theologies and reject church-prescribed doctrines, while prosecuting the dogmatic certitudes of both. How else could you do it? It's a concept for a film that could only befit a surrealist.
    10Denis M

    Bunuel at his best

    This movie is one of Luis Bunuel's best and my personal favourite. Though it was filmed between Belle de Jour and Tristana, it has more in common with Bunuel's three last movies - Discreet Charm of the bourgeoisie, Phantom of the liberty and That Obscure object of desire. Bunuel is at his surrealistic and atheistic best. Though some moments may make almost anybody laugh, the movie is intended for highly educated audience, preferably familiar with the history of heresies and the Catholic Church - without this kind of knowledge much of film's charm will be missing. Milky Way may be called a road movie in a sense: two main characters are on a pilgrimage to Santiago-de-Compostella and while on their way, also travel through time - Milky Way is unique in the way it handles this time travel.
    8Bunuel1976

    THE MILKY WAY (Luis Bunuel, 1969) ***1/2

    In view of its subject matter – the gleeful put-down of Christian dogma, a lot of which is contradictory anyway (explaining the flood of religious sects we have all suffered from!) – this has always been the one Bunuel film that is perhaps hardest to warm up to; more than any other of the director's work, its relentlessly didactic nature requires one's full attention throughout – and, needless to say, the experience can be somewhat daunting (it's definitely not the ideal choice for a beginner!). However, THE MILKY WAY is still a milestone in the Surrealist director's career: his previous effort, the chic and sexy BELLE DE JOUR (1967), had performed exceptionally well at the box-office – hence, Bunuel was given carte blanche on the next one; typically, he responded by delivering that which, on the surface, amounts to the exact opposite of what was expected of him: a distinctly uncommercial venture!

    That said, one can't very well overlook the director's approach to the material: it takes the form of a picaresque odyssey dealing with two men's pilgrimage from France to the burial site of a revered saint in Spain, and their many bizarre adventures along the way; Paul Frankeur and Laurent Terzieff appear in the lead roles. They meet scores of people who either help, hinder or simply baffle them – a few of these are actually historical figures (such as the Marquis De Sade, incarnated by Michel Piccoli) or even symbolic ones (say, Pierre Clementi's brooding Satan); most, however, are clergy (even if one proves to be a fugitive from a lunatic asylum!) or common people with a vested interest in Theology (for instance, the maitre d' played by Julien Bertheau – who, after imparting much spiritual wisdom to his 'congregation', denies food to the weary protagonists)!

    The journey is interestingly book-ended by the duo's meeting with, first, a man (Alain Cuny) who predicts they will each have a child and, then, a whore (Delphine Seyrig) who offers herself up for the task; what ties the two scenes together is that both strangers supply the same cryptic names to the proposed offsprings i.e. "Ye Are Not Of The People" and "No More Mercy"! Incidentally, the film's episodic structure would be adopted again by Bunuel (indeed, it's improved upon) in two subsequent films – both sublime and uproarious – namely THE DISCREET CHARM OF THE BOURGEOISIE (1972) and THE PHANTOM OF LIBERTY (1974); in fact, one could say that these three films comprise a trilogy whose loosely interrelated narratives (in which, literally, anything goes) basically encompass all of Bunuel's many and varied concerns over the years. THE MILKY WAY is certainly the most intellectual of the director's works, but it's all stylishly deployed (he'd retain the deceptively glossy look of BELLE DE JOUR, for which some would subsequently accuse him of selling out[!], throughout all his remaining efforts) and undeniably hilarious for those not offended by blasphemous irreverence.

    Some more of the film's indelible images involve: Frankeur thinking of himself as Jesus about to shave off the trademark beard and being dissuaded from doing so by Mary (Edith Scob); Bernard Verley, then, is endearing as a thoroughly commonplace (if snobbish) Christ – his chilling last words (taken from St. Matthew's Gospel), that he came to cause discord within the family unit and that woe befall anyone who loves somebody else more than him, must constitute one of the most wicked finales to any film!; Terzieff's casual swearword costing them a lift by an ultra-conservative driver; his own jinxed nature (wishing a man who has bypassed them to die horribly in a road accident, which happens soon after), ditto when daring God to strike him with lightning and being amazed by the practically instant reply from on high; later, during a school activity in which little children are indoctrinated in religious intolerance, Terzieff also loudly imagines a group of revolutionaries (the events of May '68 were still vivid in people's minds) executing the Pope – played by Bunuel himself! – via firing squad. Incidentally, the director's own voice is heard – reciting a prayer in Latin! – on the radio of the aforementioned burning car; in the same vein, co-scriptwriter Jean-Claude Carriere – a regular Bunuel collaborator – makes an infrequent appearance before the cameras as a decadent bishop presiding over an orgy in the forest (another sequence that is exclusively in Latin). Two more stalwart presences from the Surrealist master's canon are Claudio Brook, playing another high-ranking church official exhuming the body of the saint – to whom our heroes (and, we are told, thousands every year) have come from afar to pay tribute – so as to excommunicate him in view of facts which have only just come to the fore(!), and Georges Marchal, seen dueling for his steadfast beliefs, but the point of the discussion is so muddled that it's soon forgotten by the participants – by the way, a crucified nun is also prominently featured in this scene! For the record, this film contains one of Bunuel's most famous dictums (spoken by an undefined character during a transcendental sermon by a particularly insistent priest), namely "My hatred of Science and Technology almost brings me to the absurdity of a belief in God"!

    According to the extras on the Criterion DVD (these include an elaborate trailer, an introduction by Carriere, an interesting interview with noted film critic Ian Christie, and a 37-minute featurette which is given its due elsewhere), the conception for the script came at the 1967 Venice Film Festival after a screening of Jean-Luc Godard's LA CHINOISE, the Nouvelle Vague exponent's full-blown induction into the realm of Political Cinema. Incidentally, it's also said here that THE MILKY WAY garnered the best reviews of Bunuel's entire career!

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    Enredo

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    Você sabia?

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    • Curiosidades
      The pope being shot by the revolutionaries is played by Luis Buñuel himself.
    • Erros de gravação
      During the scene with the "free love" Catholics in the forest, the wide angle shots are taken during the day, while the close-ups and medium shots are clearly not during the day.
    • Citações

      Rodolphe, un étudiant protestant: Faith doesn't come to us through reason but through the heart

    • Conexões
      Featured in A propósito de Buñuel (2000)

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    Perguntas frequentes

    • How long is The Milky Way?
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    Detalhes

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    • Data de lançamento
      • 28 de fevereiro de 1969 (Itália)
    • Países de origem
      • França
      • Itália
      • Alemanha Ocidental
    • Idiomas
      • Francês
      • Italiano
      • Latim
      • Espanhol
    • Também conhecido como
      • O Estranho Caminho de São Tiago
    • Locações de filme
      • Santiago de Compostela, A Coruña, Galiza, Espanha
    • Empresas de produção
      • Greenwich Film Productions
      • Fraia Film
    • Consulte mais créditos da empresa na IMDbPro

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    • Faturamento bruto mundial
      • US$ 2.893
    Veja informações detalhadas da bilheteria no IMDbPro

    Especificações técnicas

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    • Tempo de duração
      1 hora 42 minutos
    • Mixagem de som
      • Mono
    • Proporção
      • 1.66 : 1

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    Claude Cerval, Alain Cuny, Paul Frankeur, François Maistre, Edith Scob, Laurent Terzieff, and Bernard Verley in Via Láctea (1969)
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