…is now stashed beneath the jump, as it is, I am reminded, not safe for work. What a world!
Fernando Rey and Angela Molina, That Obscure Object of Desire, Luis Bunuel, 1977
Image of the day…
You May Also Like
Mamoulian, Sylvia Sidney, and “City Streets”
Mamoulian, Sylvia Sidney, and “City Streets”
In 2011 I was commissioned by a home video label to contribute a booklet essay…
Glenn KennyAugust 7, 2020
The “tongue beast” pose in cinema
The “tongue beast” pose in cinema
The cat fanciers among this audience of cinephiles are no doubt familiar with the fantastic…
Glenn KennyApril 14, 2009
Greetings from scenic Long Beach Island, New Jersey
Greetings from scenic Long Beach Island, New Jersey
Sorry I haven't been able to participate in the, um, intense debate. But I told…
Glenn KennyJune 5, 2010
Boy, I’m glad I’m not at work right now.
Boy, I’m glad nobody can look over my shoulder at work right now.
I absolutely love this movie, for the record. I love Bunuel in general, but I think this is a great sendup of how human urges can blind people to the obvious.
Oops!
You know, the not-safe-for-work-ness of the image only barely (duh) occurred to me as I was putting this up. Clearly, I’ve been out of the office environment for too long. It’s fixed now…
Dan, I think the image exemplifies your point in a way. And I adore Molina’s subsequent lines: “The guitar is mine. I play it for whom I please.”
“The guitar is mine. I play it for whom I please.”
The entire movie, in a nutshell.
I’m an enthusiastic salesman of Bunuel to guys my age, partially because I think he remains socially relevant, and partially because I think late Bunuel exemplifies the best of “art films”: they make their points subtly and profoundly (for example another shot in “Object” that’s just an establishing shot, yet shows slums in the foreground and skyscrapers in the background), yet they’re also as funny as hell, something that almost never comes up in critical discussions.