Most Helpful Customer Reviews
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140 of 145 people found the following review helpful:
5.0 out of 5 stars
Don't listen to the complaints; the quality is FINE, July 12, 2002
First, let's get something straight: Belle de Jour was shot 35 years ago in France. It's just not ever going to look as clean, sharp, and saturated as a newer movie. Director Martin Scorsese (who spearheaded its re-release) is a purist; he would not want to artificially "enhance" the picture at the risk of distorting Luis Bunuel's original vision.Second, this DVD is non-anamorphic for very good reason: Belle de Jour was photographed in 1.66:1 widescreen. 16:9 enhancement would actually have CUT OFF some of the picture at the top and bottom. People who complain about the quality of this DVD simply don't know what they're talking about. As for the movie itself, Belle de Jour is one of the few films about eroticism that really gets it right - it knows that eroticism is in the mind, not the body. The always luminous Catherine Deneuve plays Severine - a woman whose life is at once picture-perfect and fundamentally empty. She is married to a good provider, the handsome but boring Pierre (Jean Sorel), and enjoys all the idle upper-middle class accouterments. But something is wrong in this greeting-card perfect world. Severine seems to find erotic satisfaction only in the repressed desire to be humilated and used sexually. She escapes into waking dreams where she enjoys being whipped, soiled with mud, and bound to trees. This lurid fantasy life leads her to seek employment as a part-time prostitute - but only during the day, before her husband gets home. Complications arise when her double life is discovered by her husband's friend Henri Husson (Michel Piccoli), and when she finds herself the subject of a stalker - a dangerously obsessed customer named Marcel (Pierre Clementi), who also happens to be a violence-prone thief. Though it sounds like fodder for a typical Hollywood "erotic thriller", what develops from these elements is a psychological study that, for all its depths, appears to remain moot about just what makes the main character tick. Central to the film is Deneuve's work. Under Luis Bunuel's precise, disciplined direction, she delivers a performance that is icy, opaque, and ultimately heartbeaking. Yes, she seems distant, and that is precisely the point: the much talked-about ending, by its very ambiguity, shocks us with the revelation that we've been fooled all along. Severine is not unreadable because she is hiding dark motivations. Rather, she is a dreamy, empty vessel; abused as a child (as we see in subtle flashbacks), and acting out of nothing more than instincts she can neither hope, nor care to understand. The lights are on and nobody's home. Her last, blissful smile as she enters one of the waking dream-states that pervade the film masks the hollowness of a human being squeezed dry of all her humanity by a life of denial, guilt, and empty materialism. It's an emotional sucker punch - a romantic banality that underscores with bitter irony what a sad, empty life Severine has, and the great damage that has been done to her. The tremendous harm that her own actions have caused by this point is just a tragic ricochet. All in all, Belle de Jour is a haunting piece of classic cinema. It may be Bunuel's masterpiece. It belongs in any serious movie fan's collection.
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20 of 21 people found the following review helpful:
5.0 out of 5 stars
Bunuel's Masterpiece of Elegant Perversity, May 14, 1999
By A Customer
A maginificent erotic comedy. Bunuel directs with masterly assurance this icy comedy about a frigid housewife, Severine (Catherine Devenue) who goes to work at a Parisian brothel. Only here is she able to indulge in her masochistic desires by being forced to perform for her clientele. The sly joke is that her loving husband's patience and consideration is precisely NOT what she wants. She wants to keep her social respectability but needs the brothel as an outlet for her drives (Bunuel's point being the fairly well-worn one, even by that time, that bourgeois society has to suppress perversions and control female sexuality to maintain its power).What's amazing is Bunuel's "respectable" treatment of this material. His cool and discrete approach brillantly contrasts with the frustrated sexual lives and fantasies we see on the screen. Brief nudity, no explicit sexual scenes, everything is done through inference and association. And what associations! Bunuel's playful surrealism is in full force here - witness the mysterious box - and his cast brings this eroticized world to life (along with Deneuve, the best performance comes from Genevieve Page as the most refined house madam you'll ever see). "Belle de Jour" is masterful piece of latter-day surrealism: it's a wonderful demonstration of the emotional anarchy at the root of sexual longing and the particularly tortured outlets people use to satisfy their needs. And yet the whole enterprise is discreetly charming - it's light at heart. This has to be the most elegantly dirty movie ever made.
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15 of 15 people found the following review helpful:
5.0 out of 5 stars
Great exercise in surrealism, and yes the quality is fine!, February 9, 2005
"Belle de Jour" is generally considered to be director Luis Bunuel's masterpiece; a surprisingly revealing and seemingly personal venture into the world of eroticism and its deviances. It's a truly surrealistic exercise in ambiguity, fantasy, and reality. The line that separates them is blurred so much that the famously mysterious ending has had critics arguing for decades over its meaning.
The fantasy sequences are usually signalled by the sound of carriage bells, but by the end of the film the viewer is no longer able to differentiate between what is another one of Severine's fantasies and what is reality. Even Bunuel admitted to not knowing himself. He said that "by the end, the real and imaginary fuse; for me they form the same thing."
The gorgeous Catherine Deneuve, resplendent in her icy prime, portrays Severine Sevigny, the middle-class wife of Pierre, a doctor. She is frigid, virginal, yet seemingly happy enough in her bourgeoisie life and its trappings. However, upon hearing about a local clandestine brothel from a friend, she pays a visit to the madame, and becomes a prostitute, going by the name of "Belle de Jour", as she can only work in the afternoons. She apparently fully realizes and enjoys her sexuality, despite her guilty conscience, exclaiming that she "can't help it". She certainly doesn't need the money. She's bored with her life and her marriage, needing a "firm hand" to lead her; a need which the madame, Anais, who is obviously attracted to her, almost immediately recognizes. Her sweet and conventional husband is unaware, treating her much like a child, and the audience cannot help but believe that even if he knew of her true nature, he would not understand or empathize. She keeps her two worlds neatly separate until a patron of hers (whom she herself enjoys) becomes obsessed with her, and all is threatened.
That Alfred Hithcock in particular admired this film comes as no surprise to me; Deneuve would have been the perfect Hitchcock heroine: an icy blonde who becomes "a whore in the bedroom", as Hitchock was fond of saying he preferred in his leading ladies. But this remark is not meant to simplfy the story, its telling, or Deneuve's remarkable performance, which is what truly draws the viewer into the film.
"Belle de Jour" was Bunuel's first foray into the use of color, and he employed it to great effect. From the fall colors displayed in the landscape scenes, to the subtle shades in Deneuve's clothing, the contrasts are set. While the world around her explodes in glorious hues, Deneuve's character is defined by her couture, if staid, wardrobe of tan, black, and white.
"Belle de Jour" was unreleased for many years due to copyright problems, but finally re-released in 1995 through the efforts of director Martin Scorcese, and released on DVD in 2003. I've watched it twice in the past week and am still at a loss to describe it very well; suffice to say that I am in awe. It's an amazingly erotic film without any explicitness, and one that I expect hasn't lost any of its effect over the years. As the subject matter is handled very tactfully and without any actual sex scenes; a great deal is left to the viewer's imagination - which only serves the heighten the mysteries inherent at every turn in the film. The viewer is however drawn into the sense of feeling to be a voyeur into Severine's secret life; the careful choreography of scenes and camera angles contribute to the uncomfortable sense of intrusion by us, the viewers.
There are many sub-stories and small mysteries in the film; for instance one of the most widely debated upon by critics is the mystery of "what is in the Asian client's little box?" that he presents first to one prostitute, who quickly refuses, then to Severine, who tentatively agrees. All the audience know is that it's something with a insect-like noise, and when the client leaves, Severine is sprawled face-down upon the bed, the sheets thrown about, and obviously pleased with whatever took place in the interim.
"Belle de Jour" was awarded the Golden Lion at the 1967 Venice Film Festival, as well as the award for Best Foreign Film in 1968 from the New York Film Critics Circle.
Interesting side notes: Bunuel himself had a shoe fetish, which helps explain the numerous shots of Deneuve's beautifully clad feet throughout the film, and the fact that every time she goes shopping, she buys shoes. He also appears in the film in a cameo as a cafe patron, and in another scene his hands are shown loading a gun.
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