It's an engaging but slightly overrated Bunuel endeavor. My issue is that it's too simple, at least to me (not trying to brag here). Basically, everything that happens after the initial rape fantasy is about the making of that fantasy, which is also why it returns to it at the end. In short, everything in the middle (especially the sound), is reconfigured in the dream. That's too simple for me especially by Bunuel.
L'incubo ritorna, ma ritorna sotto forma di piacere. Ogni volta che si sente la cocchiera, la dolce protagonista si "sblocca" e rivela il suo lato nascosto. Un film che critica la pudicità di quegli anni che Bunuel non ha paura di raccontare sotto una storia che ha poche gioie ma tanti sogni.
Slightly over-rated compared to some of his lesser-known and very best films, "Belle De Jour" evinces many of the typical traits of this great director's final 'French' period. Immersed in bourgeois manners and culture and therefore a little glacial in tone and style, it still has a dark vein of cruel humour and a subversive relish of the bizarre and the absurd.
Perhaps the stale dialogue, uninspired camerawork and wooden acting can be attributed to the 60s. For a more exciting version of the same idea "Guilty of Romance" would do just fine. "Eyes wide shut", however, is decades ahead, literally and aesthetically.
Given this director's delight in shocking the bourgeoisie, it's not surprising that the subject of this beautifully made movie is 'the world's oldest profession'. Deneuve is icily impressive as the impassive housewife, outwardly frigid, who spends her afternoons in an upmarket brothel reveling in a sadomasochistic fantasy life. Buñuel is in playful mood throughout and his film is a poetic and beguiling masterpiece..
A surprisingly eerie film lurking underneath a perky colour palette and immaculate 60's fashion. The really noticeable thing for me was the lack of backing music - it's almost too realistic and way more foreboding for that reason. Most striking scenes are definitely the early flash forwards to Severine's torture at the hands of Pierre (dragged in the red coat/white dress mud slinging) but drama peters out a little.
Sexy, clever and funny. It's a delight to see this old french classic still holding up as amusement today. Perhaps it doesn't carry all the charisma it once did, but you can feel the ghost of it there as Catherine Deneuve looks up from the bed, in what we first assume is a slump of guilt and shame, and asks, in exhausted bliss, 'What do *you* know?'
Fascinating film (despite the almost-cliche it created) immaculately put together. Kept feeling the surreal bits, brilliant though they are, could jar a little less and still be surreal. Also felt many bits asking for some kind of low-key soundtrack.