This Thursday, July 23, the Aero will screen The Discreet Charm ofthe Bourgeoisie as part of its 75th anniversary celebration. On May 21, 2014, the Egyptian hosted a celebration of all things Buñuel, the “It’s Been Surreal” Ball.
Oscar Arce, director of the Buñuel Institute and close friend of the Buñuel family, introduced the evening's three films as well as the elaborately staged audience costume contest. But first, he presented the Egyptian's own costumed "Buñuelian Tableau" to join him on stage. Among them, a figure dressed as Buñuel, complete with a papier-maché head in the Spanish born filmmaker's likeness, as well as Catherine Deneuve's beautiful blonde Belle de Jour character (clothed) in her floor length black veil and crown of white flowers. A mustachioed Salvador Dali waved to his fans.
The contest began with Arce extending the invitation,
asking the audience, “anyone that is surreal or kind of surreal” to please join
them on stage. Among stellar
contestants, first place, judged by applause, went to the “photographic” couple. They were wearing an artistic and excellently
executed paper-like canvas suit and dress, carrying a violin of the same
material. Second place went to The Lobster Lady. Third went to a man named Pablo. Buñuel’s grandson and granddaughter were also in
attendance. In the courtyard during
intermission, Marc Buñuel, whose father’s father was Luis Buñuel, shared
memories and thoughts of his grandfather.
As the younger Buñuel was just a kid when Luis died, his
most vivid memory of his grandfather was this: “He had receding gums and it
made his teeth look really big, and he liked to scare us with his teeth.” Not
so surprising, right?
Luis Buñuel spent the last years of his life living in
Mexico City, and Marc and his family would visit. “It was an interesting
experience and great adventure," he said.
About the crowd gathered at the Egyptian, he said, “He
would be so excited that so many people are taking an interest in his films. He
didn’t like to show off. He was reserved
and didn’t like too much publicity, that generation was completely
different. Today you have to promote
everything. He was a rebellion for his time.
He felt that Spain was incredibly backwards. He called it the middle ages.”
Buñuel explained that his grandfather left Spain for
France, because of Franco, and that “The Nazis were there and Europe was in
chaos. He hated hypocrisy and social
injustice.”
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| Un Chien Andalou |
The second film, Land without Bread (1933) is a somewhat
fictionalized documentary or that takes place in one of the poorest remote
areas in Spain at that time, with real footage recording extreme poverty and
untimely death. This film, along with Un Chien Andalou, has been digitally
restored. If you’re a Buñuel fan, the evening’s third film, Belle
de Jour (1967), is instantly recognizable for its lush world of glamour and
couture of Paris during the 1960s. Putting the films in context, Marc said that his
grandfather was interested in changing social norms. “Belle de Jour is a modern vision. It is surreal but a modern vision.” The Buñuel Institute works along with the producers who
share the rights to the films, and coordinated this event. The year 2000 would
have been Buñuel's 100th birthday. The
restorations were done by collecting all of the best negatives and really shine
in a theatre because of the large format. Un Chien Andalou was banned by the Spanish government,
Arce said, because it was “critical, showing Spain in a bad light. The French were most accepting of his films,
as he made them.”
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| Oscar Arce |
“This is his true director’s cut. There are 4 different versions. This one had
not been seen. It’s now same way it was shown in Paris, restored to its highest
beauty,” he said. Of Buñuel's 32 works, Arce said, “No two films are alike;
they are inconsistent but leave a signature.” According to Arce, Bunuel did not subscribe to following
the norm. “Film was a powerful medium … and his work commented on sexual taboos,
politics, and power.” In conclusion Arce said, “Believe nothing. Question
everything.” One costumed diehard fan commented, “I could see the dead
baby in the documentary breathing.” For more information go to the Buñuel Institute's site.
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