The main character and the woman he desires are both cray-cray, and prone to fits of extreme behaviour leading to chaos. It seemed pretty funny to me. It's like a lot of films from that time in that it relies both on silent film techniques as well as the static shots for the talkies. I'm fine with the chaos. That could be my religious model.
3-4. Mmm. It has a few of the same issues that 'Un Chien Andalou' had. But I think the longer runtime definitely works to its advantage. This film has a lot more breathing room, so a lot more of its setups have time to be mined for the most possible meat. Resultantly, more coherent evocations come forth from the setups, and L'Age D'Or feels like a more poignant movie, overall. Definitely deserves its reputation.
A masterpiece of subversive free association and absurdist imagery. Apparently, when the film was premiered on Dec 3rd 1930 at Studio 28 – members of the Fascist League of Patriots hurled ink at the screen and attacked the audience – a newspaper called it ‘the new poison that Judaism and Masonry want to use in order to corrupt the people’ – and was out of distribution for 50 years. Another reason to love it then!
Not provoking cinema riots anymore, but the "I-don't-see-the-point"s of today are reminiscent of that. Whether you see a big picture sense in the whole movie or not, the images created are arousing. If the strange ellipses, mood changes and strange mise-en-scène (bishops in an islet, antigravity suicides) don't stimulate you, then perhaps you're lacking imagination.
The second Dali/Bunuel collaboration takes a bit more of a structured approach than "Un Chien Andalou". (Really, how could it not?) I love Bunuel, but this is not among my favourites of his. It's reminiscent of much of his later work, but the satire is nowhere near as sharp, and it lacks the fierce anarchic spirit of his previous film.