Ending Bunuel's career that's roughly as long as the history of the movie with a smoky scene makes sense, but the movie falls short. Deleuze praised Buñuel for inventing the direct time-image, cum creating a new Buñuel time on top of the chronological time, but this Buñuel time is given by the linear moving body of the train in this film. usurped its rightful central position. Moreover, within the radiation range of the train, we can still interpret the movie as the imagination of Matthew's companions on the behavior of Matthew's old cow eating young grass (or Matthew's servant Martin's fantasy of Matthew), but retains the After getting off the train, the two ended up hanging out in Paris, which was equivalent to ruling out the above two assumptions in one breath. So, we have to live with the greatest frustration that a movie can bring: The man and woman are real, and the sexuality is real.
Although there are many dislocations, but the weight is not the quality, it will definitely not subvert the gravitational force of the world of common sense. For example, if two actresses play the same role, this setting is actually meaningless, because Matthew's appearance has not changed, so he has always been one. Matthew confronted a Concita, but let a Spanish actor play a French who can't speak Spanish, and let a French actor play a Spaniard's cleverness to make up for part of the missing surreal comical sense, but let the dominant middle-class old man be willing Surrendering to a disadvantaged vagabond proletarian woman, this Carmen-esque tale is both clichéd and out of date. I have always believed that if eroticism loses its unreproducible and unspeakable nature, there is no need to put it on the screen at all, even if a truly unique sexual perversion is filmed, it is difficult to avoid becoming the same, artificial stimulation thing. Besides, what else can desire serve other than to satisfy itself? When the desire is fulfilled, it is over, but the rule that modern cinema cannot overcome is that the event time ends before the event ends. Therefore, when Buñuel stretches an event infinitely, it will naturally fall into a vicious circle of upside down but not downside, and the more it reverses, the more it turns to stand still.
Ignoring all of the above strategic mistakes, tactically, the film still falls short of the level of whimsy that Buñuel's work deserves. The risk of being assassinated on the street evokes a quirk as old as sexuality in Buñuel, who will always be the one who best embodies the spirit of the 20s riots, but death as the mother of sexuality is not correspondingly referred to, except by being caught In addition to the rat, the explosions and gunshots came and went on and off, and finally even weakened the throbbing that the libido theme expected to achieve, Matthew didn't have the throbbing, but his audience actually did, so if you have to shoot after the train stop, The focus, then, should be shifted to a certain Matthew's audience (such as the dwarf), where Buñuel has lost his usual decisiveness of self-mockery and self-correction in the last work. We end up with a comedy in the popular sense, but one that borders on tragedy for Buñuel's ability to direct.
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