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 The father of cinematic Surrealism and one of the most original directors in the history of the film medium, Luis Bu?uel was given a strict Jesuit education (which sowed the seeds of his obsession with both religion and subversive behavior), and subsequently moved to Madrid to study at the university there, where his close friends included Salvador Dal�� and Federico Garc��a Lorca.After moving to Paris, Bu?uel did a variety of film-related odd jobs in Paris, including working as an assistant to director Jean Epstein. With financial assistance from his mother and creative assistance from Dal��, he made his first film, the 17-minute Un chien andalou (1929), in 1929, and immediately catapulted himself into film history thanks to its shocking imagery (much of which - like the sliced eyeball at the beginning - still packs a punch even today). It made a deep impression on the Surrealist Group, who welcomed Bu?uel into their ranks.The following year, sponsored by wealthy art patrons, he made his first feature, the scabrous witty and violent L'Age d'Or (1930), which mercilessly attacked the church and the middle classes, themes that would preoccupy Bu?uel for the rest of his career. That career, though, seemed almost over by the mid-1930s, as he found work increasingly hard to come by and after the Spanish Civil War he emigrated to the US where he worked for the Museum of Modern Art and as a film dubber for Warner Bros.Moving to Mexico in the late 1940s, he teamed up with producer ��scar Dancigers and after a couple of unmemorable efforts shot back to international attention with the lacerating study of Mexican street urchins in The Young and the Damned (1950), winning him the Best Director award at the Cannes Film Festival.But despite this new-found acclaim, Bu?uel spent much of the next decade working on a variety of ultra-low-budget films, few of which made much impact outside Spanish-speaking countries (though many of them are well worth seeking out). But in 1961, General Franco, anxious to be seen to be supporting Spanish culture invited Bu?uel back to his native country - and Bunuel promptly bit the hand that fed him by making Viridiana (1961), which was banned in Spain on the grounds of blasphemy, though it won the Palme d'Or at the Cannes Film Festival.This inaugurated Bu?uel's last great period when, in collaboration with producer Serge Silberman and writer Jean-Claude Carri��re he made seven extraordinary late masterpieces, starting with Diary of a Chambermaid (1964). Although far glossier and more expensive, and often featuring major stars such as Jeanne Moreau and Catherine Deneuve, the films showed that even in old age Bu?uel had lost none of his youthful vigour.After saying that every one of his films from Belle de Jour (1967) onwards would be his last, he finally kept his promise with That Obscure Object of Desire (1977), after which he wrote a memorable (if factually dubious) autobiography, in which he said he'd be happy to burn all the prints of all his films u003culu003clia classic Surrealist gesture if ever there was one.u003c/liu003c/ul
Bio:
The father of cinematic Surrealism and one of the most original directors in the history of the film medium, Luis Bu?uel was given a strict Jesuit education (which sowed the seeds of his obsession with both religion and subversive behavior), and subsequently moved to Madrid to study at the university there, where his close friends included Salvador Dal�� and Federico Garc��a Lorca.After moving to Paris, Bu?uel did a variety of film-related odd jobs in Paris, including working as an assistant to director Jean Epstein. With financial assistance from his mother and creative assistance from Dal��, he made his first film, the 17-minute Un chien andalou (1929), in 1929, and immediately catapulted himself into film history thanks to its shocking imagery (much of which - like the sliced eyeball at the beginning - still packs a punch even today). It made a deep impression on the Surrealist Group, who welcomed Bu?uel into their ranks.The following year, sponsored by wealthy art patrons, he made his first feature, the scabrous witty and violent L'Age d'Or (1930), which mercilessly attacked the church and the middle classes, themes that would preoccupy Bu?uel for the rest of his career. That career, though, seemed almost over by the mid-1930s, as he found work increasingly hard to come by and after the Spanish Civil War he emigrated to the US where he worked for the Museum of Modern Art and as a film dubber for Warner Bros.Moving to Mexico in the late 1940s, he teamed up with producer ��scar Dancigers and after a couple of unmemorable efforts shot back to international attention with the lacerating study of Mexican street urchins in The Young and the Damned (1950), winning him the Best Director award at the Cannes Film Festival.But despite this new-found acclaim, Bu?uel spent much of the next decade working on a variety of ultra-low-budget films, few of which made much impact outside Spanish-speaking countries (though many of them are well worth seeking out). But in 1961, General Franco, anxious to be seen to be supporting Spanish culture invited Bu?uel back to his native country - and Bunuel promptly bit the hand that fed him by making Viridiana (1961), which was banned in Spain on the grounds of blasphemy, though it won the Palme d'Or at the Cannes Film Festival.This inaugurated Bu?uel's last great period when, in collaboration with producer Serge Silberman and writer Jean-Claude Carri��re he made seven extraordinary late masterpieces, starting with Diary of a Chambermaid (1964). Although far glossier and more expensive, and often featuring major stars such as Jeanne Moreau and Catherine Deneuve, the films showed that even in old age Bu?uel had lost none of his youthful vigour.After saying that every one of his films from Belle de Jour (1967) onwards would be his last, he finally kept his promise with That Obscure Object of Desire (1977), after which he wrote a memorable (if factually dubious) autobiography, in which he said he'd be happy to burn all the prints of all his films u003culu003clia classic Surrealist gesture if ever there was one.u003c/liu003c/ul
Tivia:
Praised by Alfred Hitchcock as the best director ever.Liked to daydream, and his imaginations were frequently to play tricks to his friends and, in Mexico, one of his favorite "victims" was the Spanish screenwriter Luis Alcoriza. During a hunting party, Alcoriza saw an eaglet on a tree and knocked it down with the first shot but then he found a price tag on a paw: it was a stuffed bird put there by Bu?uel.Rejected an offer from Salvador Dal�� to direct a sequel to Un chien andalou (1929) in 1966.He was fluent in Spanish and French but never learned to speak English.Was voted the 14th Greatest Director of all time by Entertainment Weekly.Member of the jury at the Cannes Film Festival in 1954Loathed Salvador Dal��'s wife, Gala Dal��.Educated at Jesuit schools before attending the University of Madrid. While there he formed friendships with Salvador Dali and Federico Garcia-Lorca.In the 5th edition of 1001 Movies You Must See Before You Die (edited by Steven Jay Schneider), 9 of his films are listed: Un chien andalou (1929), L'Age d'Or (1930), Las Hurdes (1933), The Young and the Damned (1950), The Young One (1960), Viridiana (1961), Belle de Jour (1967), Tristana (1970) and The Discreet Charm of the Bourgeoisie (1972).Became a Mexican citizen in 1948.Worked as chief editor and chief of the writer department of the Museum of Modern Art in New York (1939-1943)Grandfather of Diego Bunuel.Father of film-maker Rafael Bu?uel.Biography in: John Wakeman, editor. "World Film Directors, Volume One, 1890-1945". Pages 71-92. New York: The H.W. Wilson Company, 1987.30 Film retrospective on the Berlinale in 2008.Father of Juan Luis Bu?uelDirected one Oscar nominated performance: Dan O'Herlihy in Robinson Crusoe (1954).Was father-in-law of filmmaker Joyce Bu?uel.In his youth, Bu?uel was deeply religious, serving at Mass and taking Communion every day, until, at the age of 16, he grew disgusted with what he perceived as the illogicality of the Church, along with its power and wealth.Seven of Bu?uel's films are included in Sight & Sound's 2012 critics' poll of the top 250 films of all time. |
| Name: |
Luis Bu?uel |
Type: |
Writer,Director,Actor (IMDB) |
| Area: |
All World |
Platform: |
IMDB |
| Category: |
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Business scope: |
Writer,Director,Actor |
| Products for sale: |
Writer,Director,Actor |
| Last update: |
2024-07-01 03:47:40 |
| Height: |
5' 7?' (1.71 m) |
| Biography: |
The father of cinematic Surrealism and one of the most original directors in the history of the film medium, Luis Bu?uel was given a strict Jesuit education (which sowed the seeds of his obsession with both religion and subversive behavior), and subs |
| Trivia: |
Praised by Alfred Hitchcock as the best director ever.Liked to daydream, and his imaginations were frequently to play tricks to his friends and, in Mexico, one of his favorite "victims" was the Spanish screenwriter Luis Alcoriza. During a hunting party, Alcoriza saw an eaglet on a tree and knocked it down with the first shot but then he found a price tag on a paw: it was a stuffed bird put there by Bu?uel.Rejected an offer from Salvador Dal�� to direct a sequel to Un chien andalou (1929) in 1966.He was fluent in Spanish and French but never learned to speak English.Was voted the 14th Greatest Director of all time by Entertainment Weekly.Member of the jury at the Cannes Film Festival in 1954Loathed Salvador Dal��'s wife, Gala Dal��.Educated at Jesuit schools before attending the University of Madrid. While there he formed friendships with Salvador Dali and Federico Garcia-Lorca.In the 5th edition of 1001 Movies You Must See Before You Die (edited by Steven Jay Schneider), 9 of his films are listed: Un chien andalou (1929), L'Age d'Or (1930), Las Hurdes (1933), The Young and the Damned (1950), The Young One (1960), Viridiana (1961), Belle de Jour (1967), Tristana (1970) and The Discreet Charm of the Bourgeoisie (1972).Became a Mexican citizen in 1948.Worked as chief editor and chief of the writer department of the Museum of Modern Art in New York (1939-1943)Grandfather of Diego Bunuel.Father of film-maker Rafael Bu?uel.Biography in: John Wakeman, editor. "World Film Directors, Volume One, 1890-1945". Pages 71-92. New York: The H.W. Wilson Company, 1987.30 Film retrospective on the Berlinale in 2008.Father of Juan Luis Bu?uelDirected one Oscar nominated performance: Dan O'Herlihy in Robinson Crusoe (1954).Was father-in-law of filmmaker Joyce Bu?uel.In his youth, Bu?uel was deeply religious, serving at Mass and taking Communion every day, until, at the age of 16, he grew disgusted with what he perceived as the illogicality of the Church, along with its power and wealth.Seven of Bu?uel's films are included in Sight & Sound's 2012 critics' poll of the top 250 films of all time. |
| Trademarks: |
Insects
His films often include an animal in a scene, where they seem out of place
Satirizies or outright attacks bourgeois lifestyles
Shocking subject matter
Mockery or wholesale attacks upon religion, especially Catholicism |
| Quotes: |
I have a soft spot for secret passageways, bookshelves that open into silence, staircases that go down into a void, and hidden safes. I even have one myself, but I won't tell you where. At the other end of the spectrum are statistics which I hate with all my heart.
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[asked why he made movies] To show that this is not the best of all possible worlds.
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I've always found insects exciting.
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Nothing would disgust me more morally than winning an Oscar.
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Thank God, I'm an atheist. |
| Job title: |
Writer,Director,Actor |
| Spouse: |
Jeanne Bu?uel (1925 - July 29, 1983) (his death, 2 children) |
| Children: |
Rafael Bu?uelJuan Luis Bu?uel |
| Parents: |
Leonardo Bu?uel
Mar��a Portol��s |
| Relatives: |
Leonardo Bu?uel (Sibling)
Alicia Bu?uel (Sibling)
Margarita Bu?uel (Sibling)
Mar��a Bu?uel (Sibling)
Concepci��n Bu?uel (Sibling)
Alfonso Bu?uel (Sibling)
Diego B |
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