Synopsis

Bunuel also manages to incorporate a nod to Hitchcock in this film – the 'safety in numbers' routine often used by the Master Of Suspense: here, feeling threatened by the presence of the rival's thugs at the casino.
Gran Casino marks the fourth film of my slow-moving Luis Bunuel marathon. It seems quite appropriate that after a gap in my viewing, this should be the next film on my list. My gap may only have been a couple of weeks, but Bunuel.
Made in 1947, Gran Casino was the first film Luis Bunuel made after a 15 year hiatus in his career which saw him take odd jobs in Hollywood studios and in MOMA in New York before fetching up in Mexico. He made 32 films there between the years 1947 and 1965, the best of them constituting the greatest work he ever did.
Two great Latin singing stars team up in this musical melodrama directed by the innovative Spanish filmmaker Luis Bunuel. Gerardo (Jorge Negrete) and his friend Demetrio (Julio Villarreal) are a.

Gran Casino 1947 - 1hre 36 - VoStAnglais (.srt) MKV H.264 640x480 AAC 1,03 Go.

Though Luis Bunuel, one of the most important filmmakers of the twentieth century, spent his most productive years as a director in Mexico, film histories and criticism invariably pay little attention to his work during this period. The only English-language study of Bunuel's Mexican films, this book is the first to explore a significant but neglected area of this filmmaker's distinguished career and thus to fill a gap in our appreciation and understanding of both Bunuel's achievement and the history of Mexican film.

Ernesto Acevedo-Munoz considers Bunuel's Mexican films--made between 1947 and 1965--within the context of a national and nationalist film industry, comparing the filmmaker's employment of styles, genres, character types, themes, and techniques to those most characteristic of Mexican cinema. In this study Bunuel's films emerge as a link between the Classical Mexican cinema of the 1930s through the 1950s and the 'new' Cinema of the 1960s, flourishing in a time of crisis for the national film industry and introducing some of the stylistic and conceptual changes that would revitalize Mexican cinema.

Excerpt

Many of [Buñuel's] films made in Mexico are inconsequential. Only five of the nineteen films of this period can be considered memorable.

—Virginia Higginbotham, Luis Buñuel

In this book I analyze in context the relationship between Luis Buñuel's career as a filmmaker in Mexico, Mexican politics, and the Mexican film industry. Buñuel's Mexican films need to be understood, both in relationship to questions of national cinema and the nationalist orientation of classical Mexican cinema, and within the structure of the Mexican film industry in which Buñuel worked from 1946 to 1965. My purpose is to place Buñuel's Mexican films, from Gran Casino (1946) to Ensayo de un crimen (1955), within the historical, political, and industrial contexts in which they were made. My purpose is to “nationalize” Buñuel's “lesser” Mexican films and to reposition in their national context the Mexican movies that are usually associated with his “better” French and Spanish films. Some of Buñuel's Mexican films are popular in psychoanalytic and auteurist criticism, particularly Los olvidados, Él, and Ensayo de un crimen, but they are rarely seen as “Mexican” movies. Without abducting them from their rightful place within international film criticism, I place these films in a prominent space vis-à-vis Mexican cinema, showing how Buñuel specifically questioned and addressed the ideology and imagery of classical Mexican cinema and found ways of referring to Mexican national issues.

This study departs from the usual perspectives that ground Buñuel's work solely in surrealism. Bonus casino slot games free. Buñuel's surrealist formation certainly justifies his creative and ideological independence from any concept of “national cinema, ” especially the melodramatic/folkloric style of Mexican cinema. Yet, by rethinking auteurist and psychoanalytic approaches to Buñuel's work as critical standards of evaluation for such a transnational, highly individualistic director, I will show how functions of genre and “national cinema, ” state politics, and national identity contribute to a deeper, richer understanding of his work. Furthermore, Buñuel's incorporation into the genre . . .

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Book details

212 pages

Publisher:University of California Press

Place of publication: Berkeley, CA

Publication year: 2003

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Subjects:

Gran Casino Bunuel Online Film

Buñuel, Luis, 1900---Criticism and Interpretation
Motion Pictures--Mexico