christopher-underwood I can fully appreciate that the great film maker, being a surrealist and anarchist, must have had mixed feeling after his Discreet Charm movie was such a hit amongst the bourgeoise, even my parents saw it back in the day at the local Odeon, the only film of his they would ever see. His 'revenge' then is this sublime mix and match outing with sequences of varying lengths which tend to end with one of the participants rushing off to start another. That the scenes don't join up in any accepted way causes confusion and some frustration ending in anger for some and unrestrained glee for others. What amazes me as much as anything about this film is that I have never seen it before and yet must have seen just about every other of the genius director's films. Hey ho, perhaps I'll watch it again to make up for it. Hope I haven't given away too much of the 'plot'!

framptonhollis There is no denying that "The Phantom of Liberty" is a flat out WEIRD movie filled with surrealist gags and head scratching visuals, but does that make it a good movie exactly? It depends on whom you ask, many film buffs are certainly huge fans of Bunuel's odd, quirky, and mindbending style while the casual viewer may simply dismiss his work as being pretentious nonsense disguised as "art". Personally, I side with the former view, and while watching "The Phantom of Liberty' I gleefully relished in Bunuel's bizarre glory. This certainly is not a film for those seeking a clear definable plot or a series of light, cliché jokes; instead, it is a wild ride through Bunuel's vast imagination. It is a series of comical scenes, much like Bunuel's previous work "The Discreet Charm of the Bourgeoisie", rather than being a film with any real plot. Similarly to Linklater's "Slacker", the film just follows character after character once the camera seems to get bored with them and their comical vignette is done. Otherwise, however, this film is nothing like "Slacker" and, instead, mostly mirrors every gem of surrealist comedy one could think of. It sort of works as a culmination of everything Bunuel has made as he shows off his signature style, aware that he is approaching the finale of his career. Sense is thrown out of the window and is replaced with ostriches, toilet bowls, and architectural imagery that is perceived as being pornographic. Bunuel playfully mocks religion as always, while also breaking countless taboos, stuffing his film with just enough violence and sex to both shock and amuse (often at the same time).

lreynaert Much ink has already been spilled on this seemingly enigmatic film by Luis Buñuel. Hereafter, an attempt to analyze some of the obvious and hidden aspects of this masterpiece. The film uses two notions of the word 'phantom': specter (menace) and illusion. The film also plays on many levels: political, religious, social, mental / physical, symbolical, psychoanalytical.Political The slogan 'Down with liberty' is heard at the beginning and at the end of the film. Its message is clear. First, we witness a staging of the famous Goya painting 'The Third of May, 1808' where Spanish prisoners, shouting this slogan, are shot by the French Republican army. 'Down with liberty' means here 'Down with the French Republic' and its sans-culottes, the defenders of the progressive motto 'Liberty, Equality, Fraternity'. At the end of the film, the spectator vaguely hears a crowd (apparently a manifestation) which shouts the same slogan. The film was shot during a period when the Communist Party in France still had important political and social clout, especially through its trade union. This party was at that time heavily influenced by a totalitarian state, which was fundamentally opposed to certain freedoms, including political ones. 'Down with liberty' means here also 'Down with the French Republic'.Religion, Justice Religion (Catholicism) was (is) also threatened by liberty and the sans-culottes. The viewer assists at a desecration of a church and of holy bread by the French Republican army. In addition, for L. Buñuel, representatives of the Church are corrupt: in the film, monks play cards and drink alcohol. A sniper kills people indiscriminately in the street, apparently to sow panic among the population; so, it's a provocation (an utmost topical issue). He is condemned, but the sentences of the judges are not respected. To the contrary, the sniper is set free and congratulated by the judicial administration and by part of the population: down with liberty of justice. Physical and mental life A challenging aspect of the movies by L. Buñuel is the dissociation between the physical (time, space) and mental (sentiments) reality. One can see a perfect example of this dissociation in another film by L. Buñuel (An Andalusian Dog), where a father slaps his son, followed by the text 'thirteen years later' and the action continues. In other words, in a split of a second (the slap) the son becomes thirteen years older (psychological time). This dissociation is (perhaps) an explanation of the sequence of the film where a girl disappears while being present. She is physically present, but not mentally for her parents.Illusion Freedom is an illusion in matter of instincts (like for the animals of the zoo). In this regard, scenes of sexual deviances are constants in the films of L. Buñuel as are dream sequences. Other psychoanalytic elements in this movie are anal fixation (a dinner where the guests are sitting on a toilet) or a split personality (the two prefects at the end of the film). Liberty as an illusion is the basic outline of the screenplay: the journey of the characters is all the time disrupted by unforeseen encounters, accidents or bad weather.The end of the film is a shot of an ostrich head, as if L. Buñuel exhorts the spectator: don't put your head in the sand like an ostrich, but do face head-on the (hidden) reality as the bird on the screen.Se non è vero, è molto ben trovato ?

RealReelFan Unless you're already a Bunuel fan, it's pretty much guaranteed that you have never seen a film like this before. A series of vignettes loosely connected by re-appearing characters, The Phantom of Liberty upends your expectations – or confirms your most cynical fears – in a constantly evolving, surprising way. This isn't a serious movie, exactly, but it addresses serious issues: taboos about sex and proper social behavior; individual freedom and the needs of the community; corruption and authority.It is tempting to describe some of my favorite scenes, but The Phantom of Liberty is best seen without expectations. Suffice to say that Bunuel is a master filmmaker, very much at home in the Surrealist genre, and if you choose to pop this film into your DVD player you will have a very interesting evening. Won the Top Foreign Film award from the National Board of Review in 1974; no doubt it was far too peculiar for Oscar consideration.