BELLE DE JOUR

By B. Walter Irvine

Belle de Jour – 1967 – dir. Luis Buñuel

From the very first scene, Belle de Jour announces the collision of imagination and reality. A carriage ride through the woods is plausible until a young woman, Séverine, is tied up, whipped, and on the verge of being used by the coachmen, egged on by her husband. A cut to her bedroom reveals that this has only been her daydream; her husband is actually an amiable surgeon who respectfully sleeps in a separate bed.

This confusion between Séverine’s real and imaginary lives is one of the film’s strategies: Rather than use cinematographic effects like a color or gauzy effect to separate Séverine’s internal world from the external one, director Luis Buñuel only provides thematic cues — carriages and the mention of cats — to signal that what we are seeing is not real, and the fantasies are that much more potent for being almost indistinguishable from the reality.

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EASY RIDER

By Peggy Nelson

Easy Rider – 1969 – dir. Dennis Hopper

Easy Rider (dir. Dennis Hopper, 1969), like it’s lesser-known sibling, Two-Lane Blacktop (1971), poses the question, where are you going when all the roads are mapped?  In their constant motion, Wyatt/Captain America (Peter Fonda) and Billy (Dennis Hopper) are seeking unmapped territory, but the only unmapped territory is within.  By refusing to settle in one place, by being nomads, they are refusing the predetermined categories of social role and occupation.

Freedom has been synonymous with freedom of the open road since before this country was founded: freedom to wander around in space, to break free of the boundaries of town, city, job, habits, and self, and simply go, to wander in space and see what and who you might find.  The hippies in Easy Rider are icons now, and were icons then.  But they’re on a journey much older than hippies – the Beats, too, had their road, the hobos theirs, the frontiersmen and pioneers their roads, stolen from and grafted on top of the Native Americans’ trajectories in space.
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