When the young woman Tristana’s mother dies, she is entrusted to the guardianship of the well-respected though old Don Lope. Don Lope is well-liked and well-known because of his honorable nature, despite his socialistic views about business and religion.
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Having only seen roughly half of Buñuel's films (missing most of the prolific early '50's, and NAZARIN), and while this might feel like mustard in between the thick cuts of EL (crowning masterpiece) and TOOoD, this film being a more "realistic" variation between the two; this made me revisit his filmography. I am pretty much mind blown. Jumping like a suicidal leap frog, his filmography sequence is unparalleled.
I don't get Bunuel fans who don't dig this film. It's like he adapted a Kate Chopin type story about female enslavement and added his usual themes/critiques about class, church and emotional irrationality into the mix. A great film.
A good production littered with Buñuel archetypes and motifs. It surprises me it's not more popular- maybe due to its unavailability. But after Belle de Jour, you'd expect more attention. It's a decent film, and Deneuve's performance is in top shape. I did not have a strong connection with it, however. I like it, but it's not in my favorites by him. I don't know. I'm rather apathetic to it, really.
This is for better or worse Bunuel's view on women. It's not as nuanced a view as 'Obscure Object', but still worth seeing. It's difficult being a person for whom desire is a constant issue. It means you can be manipulated, and if you run into the wrong person, like Deneuve here, they can make your life hell.
Meh. I really like Catherine Deneuve, but her work with Bunuel isn't her best. It felt like the first half of Viridiana extended to 2 mediocre hours. The only thing I was intrigued by was the metaphor of the deaf boy and the bell which is a good presentation of someone who's freed from the constraints of society. If anything, the story should have been about him.