Le fantôme de la liberté

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).

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!

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.

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.

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.