Talk:Luis Buñuel

message: I was surprised to see that Buñuel is regarded here as a Mexican film-maker. While it is true that he was given Mexican nationality in 1949, it is not less true that he frequently regarded himself as a "Spanish republican". He also lived more time in Spain than in Mexico. Why not label him as "Spanish-Mexican", to be more neutral?
--Ignacio 19:21, 1 November 2005 (UTC)
replies: text: The article regards him as a Spanish-born Mexican. So it is both. He moved to Mexico, acquired the citizenship and died there. He chose to be Mexican, his wishes are granted. --Vizcarra 20:11, 1 November 2005 (UTC)
replies: text: Hmmm... Perhaps we should ask him, if we could ;-) I think that his culture is more Spanish than Mexican, but that's an opinion, of course. Nevertheless, other encyclopaedias consider him Spanish. E.g.: The New Encyclopaedia Britannica, 15th edition, 1992: "Buñuel, Luis, Spanish director and filmmaker, noted especially for his early Surrealist films and for his work in the Mexican commercial cinema..." Wikipedia in Spanish: "Luis Buñuel Portolés ... fue un director de cine español naturalizado mexicano..." Encarta on-line: "Buñuel, Luis (1900-1983), Spanish motion-picture director, one of the masters of 20th-century cinema... " In order to avoid upsetting my Mexican friends, I suggest calling him Spanish-Mexican. Other opinions? --Ignacio 15:14, 20 November 2005 (UTC)

text: that is complete bullsh*t, he went to Mexico at the age of 46, his DNA is spanish and he grew up in Spain. Having the nationality of Mexico doesn´t mean he chose to be mexican, he went to mexico because of the dictatorship in Spain. That is like saying Einstein was american instead because he migrated from Germany to U.S. 37.132.144.208 (talk) 20:06, 18 April 2024 (UTC)

text: amigo, el no es un mexicano nacido en españa, es un español, de familia española, criado en españa, que decide emigrar a mexico con 46 años, tu también eres un inmigrante, vives en Estados Unidos y eres mexicano, eso te hace ser estadounidense? Por supuesto que no, a no ser que hayas nacido/sido criado en estados unidos, pero ese no es el caso de Buñuel, tanto toda su juventud y gran parte de su vida adulta la pasó en españa, pasó mucho menos tiempo en mexico. En tu caso, tú te sientes mexicano verdad? por lo que no eres estadounidense, solo eres un mexicano nacionalizado estadounidense, al igual que buñuel era español nacionalizado mexicano, y Elon Musk es sudafricano nacionalizado estadounidense. no te equivoques 37.132.144.208 (talk) 20:12, 18 April 2024 (UTC)
thread_title:  Mexican or Spanish? 

message: "Creative authorship of both films would be claimed by both men throughout their lives, but Dali's claim doesn't hold up against the great surreal film work later produced by Buñuel". - and the later great surrealist work produced by Dali is NOT a proof?! I am really surprised by the reasoning in the cited sentence. If you ever watched L'Age d'Or and know both the work of Dali and Bunuel, you can plainly see huge parts of script created by Dali that are retained in the film. The film increasing anti-clericalism and anti-burgeois emphasis are obviously Bunuel's doing, but it doesn't invalidate Dali's claim in any way. Such opinion was promulgated by the critics biased against Dali (I suppose based on his personal political views). In any case, as I said, go back to the sourse (film that is), and see for yourself. Also, I advise to read Dali's writings prior to the making of the movie, and around the time. Also, look INTO his art of the time and see if there are recurring themes there AND in the film. Bunuel at the time showed very little intellectual or literary abilities to claim that L'Age d'Or (or even Un Chien Andalou) is HIS creations only. He turned out to be a famous director later on in his life, but, to be frank, if it was not for Lorca and Dali "mentoring" him, I doubt it would have happened. Anchorite 06:47, 12 January 2006 (UTC)
thread_title:  Bunuel vs. Dali 

message: A personal picture should not qualify as the main image for a historical figure. I don't know the exact rules for this type of matter, but I would suspect that an original computer drawing might be considered a poor choice for the primary image. I am not particularly invested in this page, but, perhaps, someone who is can find a suitable, portrait-like photograph and apply it to this page. ask123 19:55, 3 June 2007 (UTC)
thread_title:  Poor Image Choice 

message: >>> In 1960, for political propaganda reasons, Franco instructed his minister of culture to invite the country's most famous filmmaker to return to Spain to direct a film of his choice. Buñuel accepted and proceeded to make Viridiana
This, and almost all the whole info on this subject in the article, is just childish fantasizing; the real story has been several times told by the people involved:
Viridiana was a coproduction between Spanish Uninci (a leftist production company -actually a cultural cover-up of the Spanish Communist Party, as admited years later by all people involved- tolerated by Spanish government) and Mexican Gustavo Alastriste. The initial conversations to shoot it in Spain took place in Mexico in 1958-59 during the shooting there of Uninci-produced Juan Antonio Bardem-directed Sonatas (Bardem was himself a well-known member of the SCP, again tolerated [Bardem, not the SCP] to some extent by the Spanish Government). And everybody agreed quickly: Alatriste wanted a lead role for Silvia Pinal, by then his wife, Uninci wanted the same for Fernando Rey, one of its shareholders and a player in Sonatas, and Buñuel was more than willing to go to Spain and shoot the screenplay he had written with Julio Alejandro. 
Uninci got, without any major problem, the Spanish government permission for the shooting and the censorship approval for the script, and Viridiana was made. It was then sent, representing Spain, to the Cannes festival, again with the Spanish government permission; to the point that the person who took the stand to receive the Palme d'Or award was the General Director of Cinematography of the Spanish Government. So, everybody (from the Spanish Communist Party to the Spanish Governement) was happy ... until the following day L'Osservatore Romano, the Vatican newspaper, solemny declared Viridiana as blasphemous. Immediately the Spanish Governement backed down and banned the film.
Three additional precissions:
1. It is ridiculous to say that Franco cared, or even knew, about Buñuel. It shows a total ignorance of what and how both Franco and Spain under Franco were.
2. Luis Buñuel loved to go to Spain, loved the shooting of Viridiana, and loved to stay in Madrid, to the point that from then on he spent more time of his life in Madrid that in Mexico.
3. The ambiguous financial and legal status of Viridiana after the Spanish Government banning (the film was not only prohibited to be shown in Spain but was too declared as non-existing as a Spanish production) led to a bitter and long litigation between the Mexican (who unilaterally exploited the film all around the world) and the Spanish producers. This litigation eventually caused Uninci to go into receivership.  —Preceding unsigned comment added by 81.44.132.204 (talk) 15:52, 17 June 2008 (UTC)
thread_title: The story of the making of ''Viridiana''

message: deleted from Trivia:
*Although he was famously a lifelong atheist, he reportedly experienced a religious conversion at the end of his life  —Preceding unsigned comment added by Bustter (talk • contribs) 19:24, 11 August 2008 (UTC)
thread_title: deathbed conversion - it's a fiction

message: I found this page explaining that some of Bunuel's works are cited as Masonic references in cinema. In that case, it would be a good idea to mention it in the page. ADM (talk) 10:00, 15 April 2009 (UTC)
thread_title: Masonic references in cinema

message: "repudiate this statement in a 1977 article in The New Yorker"
Not found in online search of New Yorker archives.  Incorrect information?  Different journal?  —Preceding unsigned comment added by 173.9.5.145 (talk) 14:21, 21 May 2009 (UTC)
replies: text: December 5th, 1977, p. 54  —Preceding unsigned comment added by 75.93.124.243 (talk) 03:38, 20 February 2010 (UTC)
replies: text: Did you find the article online or from a hard copy? I think it should be cited in the references either way? Squandermania (talk) 02:29, 21 March 2010 (UTC)
thread_title:  New Yorker article? 

message: I don't know what the phrase "Uneasy interludes abroad" means. Does anybody know? Should I delete/change it? Squandermania (talk) 04:48, 21 March 2010 (UTC)
thread_title:  Uneasy interludes abroad? 

message: I'm thinking of changing the section now called "2nd French period" to "International period".  Many of the films of this period are co-productions filmed and/or funded in the USA, France, Spain, Italy and Mexico, with the finished products released in French, Spanish and/or English.  Thoughts?  Thanks. Jburlinson (talk) 19:01, 4 September 2012 (UTC)
replies: text: I agree with you 100%.  My vote is definitely in favor of changing the name to "International period" as you have suggested. I think I made a similar point in a thread down below--sorry, I had not noticed that you had already brought up the matter in this thread. But, thank you for doing so. You make a great point here. Garagepunk66 (talk) 05:22, 18 June 2014 (UTC)
thread_title: International period or 2nd French period

message: File:Dali, Bunuel and Lorca.gif , that looks nothing like Buñuel.--Deoliveirafan (talk) 18:55, 11 November 2012 (UTC)
replies: text: For some reason, I would prefer to see a picture (at the top) of Bunuel later in life, and I think most people would argree with me on this.  That would be the image of Bunuel that first comes to mind, perhaps because he reached his popular and artistic peak during the later years and would be the look that is most readily identifiable: preferably a photo of him in his later period pictured with a viewfinder around his neck. That would perfectly capture the essence--the quintessential and eternal image of Bunuel that I think most people have. Garagepunk66 (talk) 09:47, 13 January 2013 (UTC)
thread_title:  Photo used 

message: The term "...not entierely approvingly..."  (regarding Bergman's opinion of Bunuel) may not be an appropriate thing to put in the heading of the article, particularly in light of the level of regard this director is held by followers of cinema wordwide 
It may not accurately or fully describe Ingamr Bergaman's opinion of Luis Bunuel, because he made various comments about Bunuel at different times, and this allusion is only based on one comment.  In the statement that the heading is obviously referring to, Bergamn is saying that he is not able to "appreciate" Bunuel, which is not the same thing as dissapproval.
::A French critic cleverly wrote that "with Autumn Sonata Bergman does Bergman." It is witty but unfortunate. For me, that is. I think it is only too true that Bergman (Ingmar, that is) did a Bergman.... I love and admire the filmmaker Tarkovsky and believe him to be one of the greatest of all time. My admiration for Fellini is limitless. But I also feel that Tarkovsky began to make Tarkovsky films and that Fellini began to make Fellini films. Yet Kurosawa has never made a Kurosawa film. I have never been able to appreciate Buñuel. He discovered at an early stage that it is possible to fabricate ingenious tricks, which he elevated to a special kind of genius, particular to Buñuel, and then he repeated and varied his tricks. He always received applause. Buñuel nearly always made Buñuel films.http://bergmanorama.webs.com/bergman_on_directors.htm
I need to go back and find the reference, but when I was reading Berman's autobiogrpahy, The Magic Lantern, a few years ago (a book Bergamn wrote late in life), he gave heartfelt praise to Bunuel in one passage. So let's not typcast his opinion of Bunuel in the heading.  
Also, the heading makes no mention of Bunuel as a satirist: i.e. it makes no mention of satire in the litany of genres he has been associated with, which is a glaring omission.  But, aside form these criticisms, I think that this is, otherwise, an outstanding and informative article and is a few small steps away from becoming one of the best Wiki articles ever done about a film director.  The breadth, scope, and quality of writing here is amazing and a joy to read.  Though I am not fluent in Spanish, this article appears to be superior to the one on Spanish Wikipeia, and that is quite an amazing feat.     Garagepunk66 (talk) 10:36, 2 January 2013 (UTC)
replies: text: Thanks for your comments.  I've removed the speculation about Bergman's intentions and added satire to the litany.  Much appreciated. Jburlinson (talk) 19:34, 2 January 2013 (UTC)
thread_title:  "Not entirely approvingly" may not be appropriate for heading--also mention "satire" in heading

message: According to the box he married in 1925 but in the text it says 1934. Which one is correct?  — Preceding unsigned comment added by 31.185.170.229 (talk) 23:24, 30 August 2014 (UTC)
replies: text: 1934 is the correct date, thanks for the report. -- Bkouhi (talk) 09:51, 31 August 2014 (UTC)
thread_title:  Marriage 

message: I've requested a peer review of this article in preparation for nominating it for Featured Article status.  Please share any thoughts, comments, suggestions, advice, etc. on the peer review page -- https://en.wikipedia.org/wiki/Wikipedia:Peer_review/Luis_Bu%C3%B1uel/archive1   Thanks.--Jburlinson (talk) 01:20, 17 December 2014 (UTC)
replies: text: I created new section headings for the later periods that will be helpful.  A few other tidbits and this article will really ascend to the stratosphere.  See comments above.  Garagepunk66 (talk) 02:22, 30 April 2015 (UTC)
thread_title:  Peer Review for featured article 

message: the page is superheavily focused on his career and people he worked with.
it has no section on his personal / private life, which i consider mandatory for a BLP. looks like he had no children. his wife wrote a book- there must be info about their private life.--Wuerzele (talk) 01:38, 21 January 2016 (UTC)
thread_title:  personal/ private life 

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