Regie:
Luis BuñuelKamera:
Sacha ViernyBesetzung:
Catherine Deneuve, Jean Sorel, Michel Piccoli, Geneviève Page, Françoise Fabian, Maria Latour, Macha Méril, Francisco Rabal, Bernard Fresson (mehr)Streaming (1)
Inhalte(1)
Séverine, unzufrieden mit ihrem bürgerlichen Eheleben, beschließt als Prostituierte zu arbeiten. Anfangs sträubt sie sich gegen die Dienste, doch bald findet die "Schöne des Tages" Gefallen an den sadomasochistischen Ritualen. (KinoweltTV)
Kritiken (5)
Wahrscheinlich der einzige Buñuel-Film, der mir wirklich gefallen hat. Ich lese jetzt die Romanvorlage von Kessel, und sie gefällt mir. Und seltsamerweise wünsche ich mir nicht einmal, dass Buñuel sich in diesem Fall an einem historischen Film versucht hätte, denn er hätte es schwer gehabt, in den 60er Jahren einen glaubwürdigen Film über die 20er Jahre zu drehen. So ergibt die affektierte Mode, in der Deneuve aussieht, als würde sie ständig über den Laufsteg schreiten, einen Sinn, der ideal mit ihrer Figur korrespondiert, die nur eine minimale Wahrnehmung der Realität hat, in der sie existiert. Die unerwarteten Schnitte zu den Träumen in den Träumen und das ganze Thema der Prostitution, um die romantische Liebe im Allgemeinen zu festigen, ergeben zusammen einen sehr gelungenen Korpus für ein interessantes Zuschauererlebnis.
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Buñuel konnte sich diese Traumwelt einfach nicht verzeihen, auch wenn sie seine Filme umso interessanter macht. Ein Haufen Rückblenden, viele Visionen zwischen Traum und Wirklichkeit und die schöne, zerbrechliche und charmante Catherine Deneuve. Dies ist die Schönheit des Tages, die durch ihre Begierde zu Zufriedenheit und Loslösung von sadomasochistischen Fantasien gelangt. Oder nicht?! Unabhängig von den Absichten des Regisseurs sieht es im Großen und Ganzen sehr künstlerisch, fesselnd und interessant aus. Kurzum, ein Film, den jeder von uns auf seine Weise begreifen kann.
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With their second collaboration, Buñuel and Carrière set out to explore a still relatively uncharted territory. Their case study on the issue of female masochism stands out thanks to the seriousness with which they approach the subject and the degree of understanding expressed for the protagonist. The depiction of Séverine, an outwardly respectable and loving wife who in reality is a woman longing to liberate her sexuality through more than just fantasies, fits in with Buñuel’s other portraits of bourgeois hypocrisy, but it is not caustic. The lack of imagination as the main sign of bourgeois stagnation does not apply to the protagonist – she can dream and thus untie herself from the role for which she was destined. The irony lies only in the fact that she desires the same thing in both her marriage and in her sex life, namely submissiveness. In all of her daydreams, she is the one who is bound, not the one who binds (i.e. she’s not a dominatrix). For her, the key to liberation is the essentially surrealistic crossing of the boundary between the imaginary world and the real world. These two worlds necessarily have to blend together in the partially dreamlike ending. Despite the extraordinary seriousness of the approach, (Jacques Lacan himself reportedly showed Belle de Jour as explicative material in his lectures), the film doesn’t suffer from academic rigidity. Buñuel remains faithful to his economical style, with fetishistic shots of legs, well-chosen colours and well-placed objects. And, of course, with a bit of mischief aimed at viewers (we are not told what is in the black box, but we are made aware of our own voyeurism through Séverine). This bold film about what women truly desire is still impressive today as more than just a demonstration of the young Catherine Deneuve’s beauty and the peak work of Yves Saint Laurent. 85%
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Belle de Jour was allegedly Buñuel's most commercially successful film. It is no wonder, as it deals with a spicy storyline and the director also came up with an effective lure by casting the charming Catherine Deneuve in the main role. Buñuel had several motifs in his work that he obsessively returned to, and the most frequently used one was criticism of bourgeois morality stemming from a bigotedly experienced Christianity and dogmatic ideas about human sexuality, which were deeply rooted in the 19th century. A materially well-off bourgeois lady, living in such an exemplary marriage that it could represent a dream historical ideal for many, seemingly lacks nothing. However, she feels increasingly dissatisfied, and bored, and the conflict between her strict Catholic upbringing and obligations to her social status on one hand, and unsatisfied sexual urges and a desire for adventure on the other, is tearing her apart more and more intensely. Outwardly conservative, the woman starts living a double life and finds escape in the occupation of a luxury prostitute. Buñuel satirizes religious resistance to eroticism and sexual desire, as well as attacking the traditional model of family, which refuses to see women as anything more than mothers and housewives. He also perceives sexual intercourse primarily, if not exclusively, as a means of reproduction. With the passage of time, Belle de Jour can be seen as a typical representative of the socially critical intellectual movement in European cinema of the 1960s and 1970s. In today's fast-paced times, which prefer shortcuts and overt displays, Buñuel's refinement, his restraint, and his ability to merely suggest, which may be unattractive to some, are highly appreciated by me. Overall impression: 90%.
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Whenever Catherine Deneuve is in a film, it's essentially a guarantee of quality because she's just an incredible actress, although it's true that Polanski, and in this case, Buñuel, used her a bit monotonously, and at times, she comes across as somewhat repetitive. But it's evident that it's for the sake of the film, which has amazingly absurd moments that only underline the sense of the whole story, which surprises already with its opening scene.
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