Le fantôme de la liberté

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...

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.

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).

Luis Bunuel's "Le Phantôme de la liberté" is a movie whose episodes are only loosely connected, because the watcher is a part of the society whose liberty and freedom is a phantom. Moreover, it is man who watches this movie that also creates the story – not on the screen, of course, but in her or his mind. This is a movie that does never go out of your mind.

The clue scene is in the episode where Margaret Mead's books are mentioned. And in fact, since this movie deals with liberty and with persons of very different cultural, religious and aesthetic backgrounds, it is a sociological movie. It was Mead who gave the direction to the late cybernetician Heinz von Foerster's (1911-2002) work: Second-order cybernetics. It is called "second order" because this theory has an environment in which subject and object have a space of liberty. Only in such an environment-based logic it is possible to reflect to oneself. And this is exactly what happened in Bunel's core-scene: The teacher speaks to his students that laws have exceptions because they are depending on man, and man is depending on evolution. Therefore, there can be no laws at all, because they also stay and fall with evolution. And if they are no laws at all, then they are no causal relations. And if there are no causal relations, then form and function vanish, exactly like in Bunuel's movie. But the most important point is that this conclusion is reflected in the movie itself. The teacher who makes this self-reflection moreover has much in common with Bunuel, so for example, when he criticizes the standard level of human life in Spain – as Bunuel did in an interview.

Another interesting point is that the physician's name is Dr. Pasolini. Bunuel's movie was released in 1974, thus just at the time when Pier Paolo Pasolini started to film his last work "Salo", in which (amongst many other marvelous events) there is the famous or infamous scene where people are forced to eat faeces. But faeces play an important role in Bunuel's "Phantom of Liberty" (so the English title of this movie), too: The teacher explains his friends how many kilograms of faeces a human produces daily, and since there are so and so many billions of people on this world, this makes so and so many tons of faeces per year. Then, the teacher has lunch in the restroom (one of the most famous scenes of this movie). And finally, in his regular bar, the teacher explains the girl who resembles to his sister that this sister died because her intestines exploded. This three-times occurrence of faeces, the mentioning of Pasolini and the insight that form and function must abolish only because of human evolution leads the critical watcher to a conclusion about the sociology of human life that is not too far away form that of Pasolini: All mankind is able to produce is faeces.

Although Bunuel made one more movie ("Cet obscur object du désir", in 1977), he considered the "Pantom of Libery" his testament. Pasolini's testament was the "Salo". Bunuel still lived nine more years after his "Phantom", Pasolini was killed shortly after the postproduction of "Salo". Pasolini was radical and consistent, Bunuel still had kept his sense of humor (the "Phantom" ranges under "comedy", at least officially). Perhaps in the end, it was the humor that let Bunuel alive, while its absence killed Pasolini. Or was Bunuel's humor gallows humor? He drank himself to death.

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 :-)