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Warisill I changed the running time of Chien on the main page to 16 minutes, because it's 16 minutes not 24 as originally stated. I've also added a summary of La Joven and will continue to add summaries of Bunuel's Mexican period because I own copies of all almost of his films.
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)
Althought calling him Mexican can be formaly correct, It appear to me extrange to do so when he arrived at Mexico at the age of 46.
It is fucking wrong to call the guy Mexican. You can mention that he worked in Mexico and even obtained Mexican citizenship but it is ultimately misleading to call him a Spanish born Mexican filmmaker. He was much more international than that and it is probably most correct to call him a Spanish filmmaker. Should Robert De Niro be considered an Italian actor just because he holds Italian citizenship? No. Bunuel worked in Mexico as well as Spain, France, and the USA.
Whoever came up with the idea to call him "Aragonese" instead of Spanish? Introductory statements at the beginning of a bio always name a country, not a city or a town, or a state or a region, etc. Saying Aragonese instead of Spanish is as absurd as changing Clint Eastwood's entry to "a Californian film actor, director,..." — Preceding unsigned comment added by Calastheon ( talk • contribs) 04:34, 22 October 2012 (UTC)
Editor 71.183.193.188 is repeatedly changing the lead sentence of the article to call Bunuel a Mexican filmmaker. That lead sentence is based on a reliable source that clearly identifies Bunuel a Spanish filmmaker. It is wrong to change the sentence in a way that is not supported by the RS. This misrepresents what the RS actually says. I urge the editor in question to stop making this change without specific reference to an RS.-- Jburlinson ( talk) 23:22, 11 May 2018 (UTC)
"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)
My problem with that statment is that it's stating an opinion... Also, I believe Dali tried to downplay his role in L'Age d'Or once it became controversial. Donwithnoname 21:36, 5 February 2007 (UTC)
Regarding L'Age d'Or, it is a fact (as stated by both Buñuel and Dali in their memories) that they started working together in the script, but this time they didn't get along well, so they broke up and Dali had no participation whatsoever in the shooting of the film. This is why it can be considered a Buñuel piece, differently than Le Chien Andalou, that is really co-authored. — Preceding unsigned comment added by Jarvier ( talk • contribs) 02:24, 9 February 2011 (UTC)
Surely by searching for 'Buñuel' one should be redirected to Luis' page rather than a one liner about a town in Spain.
Could someone use a more clear term than "non-diegetic" in the last paragraph of the Technique section? Reading the linked article offers no clear explanation as it does not refer to filmmaking.
Would it be perhaps a good idea to provide a section which catalogs the centers of study for bunuel's work? I've located one in his hometown, which doesn't appear if you do google searches for obvious things like, "Bunuel museum".
Thanks goes to the Spanish tourism bureau in Miami for locating this one:
CENTRO DE ESTUDIOS LUIS BUÑUEL ADDRESS: PLAZA MANUEL MINDÁN MANERO, 3. CALANDA, TERUEL, 44570, SPAIN TELF. (978) 846-905 WEB PAGE: www.cbcvirtual.com
Located in a XVII century Palace (Palacio de Fortón-Cascajares). Objects: artifacts, films, publications, and many objects belong to Buñuel.
--Krystian
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)
I see that someone has completed this task. Thanks! ask123 21:20, 17 July 2007 (UTC)
>>> 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)
deleted from Trivia:
Buñuel conceived of his own deathbed conversion as a joke. From his autobiography:
As I drift toward my last sigh I often imagine a final joke. I convoke around my deathbed my friends who are confirmed atheists, as I am. Then a priest, whom I have summoned, arrives; and to the horror of my friends I make my confession, ask for absolution for my sins, and receive extreme unction. After which I turn over on my side and exire.
But will I have the strengh to joke at that moment?
I doubt very much that reality followed Buñuel's fiction.
I'm deleting this, it should not be restored without a good cite, Bustter ( talk) 19:20, 11 August 2008 (UTC)
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. [1] ADM ( talk) 10:00, 15 April 2009 (UTC)
"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)
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)
I'm working on a thorough re-write, building on the excellent material that had already been assembled. So far, I've updated "early life", and the first part of "career", the years covering Un Chien and L'Age d'Or. Also updated some of the section on "technique" relating to use of music.
I'd greatly appreciate any suggestions, complaints, guidance, collaboration, etc. My goal is to get the article to GA or (can I dream?) FA status. Any advice or help on how to get there would be wonderful. Jburlinson ( talk) 23:54, 25 July 2012 (UTC)
I've just added some revisions to the sections "Spain" and "United States" in the treatment of his career. Plus, I've tweaked a few lines in the preceding sections as well. I've also changed some of the images, trying to de-emphasize use of non-free files and substituting them with cc licensed images or images with permission to use on WP. Also, I've added a section on "Characterizations", just ahead of "Awards", and I added a couple of items to the "Tributes" section as well. Feedback is definitely welcomed.
Next, I'm going to work on finishing updates to the "career" section, starting with the "Mexican Period." Jburlinson ( talk) 02:36, 9 August 2012 (UTC)
Added information up through Los olvidados. More to come. Jburlinson ( talk) 18:25, 4 September 2012 (UTC)
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)
File:Dali, Bunuel and Lorca.gif , that looks nothing like Buñuel.-- Deoliveirafan ( talk) 18:55, 11 November 2012 (UTC)
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.
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)
References
I appreciate the additions of text for the late period...great job!!! Now one more BIG THING: For the post-1953 parts, we need to arrange the article in chronological order, rather than according to its current nationality emphasis--in other words, we should discuss the movies more clearly in the order he made them, so readers can see a lifeline of his creative development as an artist, rather separating his movies into national categories that defy chronology (i.e. the way the article currently separates movies he made in Mexico from those he made in other countries or for other national markets, and the way the timeline gets scrambled and overlapped). This just makes things confusing for the reader who wants to track his progress and have a linear narrative. Luckily that won't involve many changes other than in section tiles and a few minor "tweaks" in the text. We will can modify the section headings from being ordered according to nationality (as it currently is) to being chronological (as it should be)--the way Bunuel tracked his own progress in his autobiography and the way most books trace his history. The Mexico (1946-1965) section should be re-named to Mexico (1946-1953). We could add two new section headings to cover the text that covers those time periods. The 1946-1977 sections would look like this:
All content in these sections could be discussed chronologically. This would be in accordance with how Bunuel viewed his career in My Last sigh and the way most books depict it. Garagepunk66 ( talk) 12:58, 27 April 2015 (UTC)
So: maybe it is best to just discuss the films in chronological order, rather than as trilogies, etc. We could say a lot more about The Exterminating Angel (as with Nazarin, and others I mentioned earlier). Right now there is an overload of information (anecdotes, etc.--wonderful though they are, are a bit distracting)--the text could be simplified (ever so slightly), drawing the reader's attention more to the films. The more the article evolves to where it highlights films and chronology the better and more helpful it will become to the reader. These are areas for improvement. But, I don't want to "nitpick"--the article is moving in a very good direction, and I am glad that the later films are finally discussed at length. I have to give so much of the credit to Jburlinson for all of his sizable contributions to this article. Much thanks! Garagepunk66 ( talk) 22:43, 2 May 2015 (UTC)
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)
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 -- /info/en/?search=Wikipedia:Peer_review/Luis_Bu%C3%B1uel/archive1 Thanks.-- Jburlinson ( talk) 01:20, 17 December 2014 (UTC)
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)
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Warisill I changed the running time of Chien on the main page to 16 minutes, because it's 16 minutes not 24 as originally stated. I've also added a summary of La Joven and will continue to add summaries of Bunuel's Mexican period because I own copies of all almost of his films.
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)
Althought calling him Mexican can be formaly correct, It appear to me extrange to do so when he arrived at Mexico at the age of 46.
It is fucking wrong to call the guy Mexican. You can mention that he worked in Mexico and even obtained Mexican citizenship but it is ultimately misleading to call him a Spanish born Mexican filmmaker. He was much more international than that and it is probably most correct to call him a Spanish filmmaker. Should Robert De Niro be considered an Italian actor just because he holds Italian citizenship? No. Bunuel worked in Mexico as well as Spain, France, and the USA.
Whoever came up with the idea to call him "Aragonese" instead of Spanish? Introductory statements at the beginning of a bio always name a country, not a city or a town, or a state or a region, etc. Saying Aragonese instead of Spanish is as absurd as changing Clint Eastwood's entry to "a Californian film actor, director,..." — Preceding unsigned comment added by Calastheon ( talk • contribs) 04:34, 22 October 2012 (UTC)
Editor 71.183.193.188 is repeatedly changing the lead sentence of the article to call Bunuel a Mexican filmmaker. That lead sentence is based on a reliable source that clearly identifies Bunuel a Spanish filmmaker. It is wrong to change the sentence in a way that is not supported by the RS. This misrepresents what the RS actually says. I urge the editor in question to stop making this change without specific reference to an RS.-- Jburlinson ( talk) 23:22, 11 May 2018 (UTC)
"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)
My problem with that statment is that it's stating an opinion... Also, I believe Dali tried to downplay his role in L'Age d'Or once it became controversial. Donwithnoname 21:36, 5 February 2007 (UTC)
Regarding L'Age d'Or, it is a fact (as stated by both Buñuel and Dali in their memories) that they started working together in the script, but this time they didn't get along well, so they broke up and Dali had no participation whatsoever in the shooting of the film. This is why it can be considered a Buñuel piece, differently than Le Chien Andalou, that is really co-authored. — Preceding unsigned comment added by Jarvier ( talk • contribs) 02:24, 9 February 2011 (UTC)
Surely by searching for 'Buñuel' one should be redirected to Luis' page rather than a one liner about a town in Spain.
Could someone use a more clear term than "non-diegetic" in the last paragraph of the Technique section? Reading the linked article offers no clear explanation as it does not refer to filmmaking.
Would it be perhaps a good idea to provide a section which catalogs the centers of study for bunuel's work? I've located one in his hometown, which doesn't appear if you do google searches for obvious things like, "Bunuel museum".
Thanks goes to the Spanish tourism bureau in Miami for locating this one:
CENTRO DE ESTUDIOS LUIS BUÑUEL ADDRESS: PLAZA MANUEL MINDÁN MANERO, 3. CALANDA, TERUEL, 44570, SPAIN TELF. (978) 846-905 WEB PAGE: www.cbcvirtual.com
Located in a XVII century Palace (Palacio de Fortón-Cascajares). Objects: artifacts, films, publications, and many objects belong to Buñuel.
--Krystian
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)
I see that someone has completed this task. Thanks! ask123 21:20, 17 July 2007 (UTC)
>>> 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)
deleted from Trivia:
Buñuel conceived of his own deathbed conversion as a joke. From his autobiography:
As I drift toward my last sigh I often imagine a final joke. I convoke around my deathbed my friends who are confirmed atheists, as I am. Then a priest, whom I have summoned, arrives; and to the horror of my friends I make my confession, ask for absolution for my sins, and receive extreme unction. After which I turn over on my side and exire.
But will I have the strengh to joke at that moment?
I doubt very much that reality followed Buñuel's fiction.
I'm deleting this, it should not be restored without a good cite, Bustter ( talk) 19:20, 11 August 2008 (UTC)
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. [1] ADM ( talk) 10:00, 15 April 2009 (UTC)
"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)
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)
I'm working on a thorough re-write, building on the excellent material that had already been assembled. So far, I've updated "early life", and the first part of "career", the years covering Un Chien and L'Age d'Or. Also updated some of the section on "technique" relating to use of music.
I'd greatly appreciate any suggestions, complaints, guidance, collaboration, etc. My goal is to get the article to GA or (can I dream?) FA status. Any advice or help on how to get there would be wonderful. Jburlinson ( talk) 23:54, 25 July 2012 (UTC)
I've just added some revisions to the sections "Spain" and "United States" in the treatment of his career. Plus, I've tweaked a few lines in the preceding sections as well. I've also changed some of the images, trying to de-emphasize use of non-free files and substituting them with cc licensed images or images with permission to use on WP. Also, I've added a section on "Characterizations", just ahead of "Awards", and I added a couple of items to the "Tributes" section as well. Feedback is definitely welcomed.
Next, I'm going to work on finishing updates to the "career" section, starting with the "Mexican Period." Jburlinson ( talk) 02:36, 9 August 2012 (UTC)
Added information up through Los olvidados. More to come. Jburlinson ( talk) 18:25, 4 September 2012 (UTC)
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)
File:Dali, Bunuel and Lorca.gif , that looks nothing like Buñuel.-- Deoliveirafan ( talk) 18:55, 11 November 2012 (UTC)
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.
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)
References
I appreciate the additions of text for the late period...great job!!! Now one more BIG THING: For the post-1953 parts, we need to arrange the article in chronological order, rather than according to its current nationality emphasis--in other words, we should discuss the movies more clearly in the order he made them, so readers can see a lifeline of his creative development as an artist, rather separating his movies into national categories that defy chronology (i.e. the way the article currently separates movies he made in Mexico from those he made in other countries or for other national markets, and the way the timeline gets scrambled and overlapped). This just makes things confusing for the reader who wants to track his progress and have a linear narrative. Luckily that won't involve many changes other than in section tiles and a few minor "tweaks" in the text. We will can modify the section headings from being ordered according to nationality (as it currently is) to being chronological (as it should be)--the way Bunuel tracked his own progress in his autobiography and the way most books trace his history. The Mexico (1946-1965) section should be re-named to Mexico (1946-1953). We could add two new section headings to cover the text that covers those time periods. The 1946-1977 sections would look like this:
All content in these sections could be discussed chronologically. This would be in accordance with how Bunuel viewed his career in My Last sigh and the way most books depict it. Garagepunk66 ( talk) 12:58, 27 April 2015 (UTC)
So: maybe it is best to just discuss the films in chronological order, rather than as trilogies, etc. We could say a lot more about The Exterminating Angel (as with Nazarin, and others I mentioned earlier). Right now there is an overload of information (anecdotes, etc.--wonderful though they are, are a bit distracting)--the text could be simplified (ever so slightly), drawing the reader's attention more to the films. The more the article evolves to where it highlights films and chronology the better and more helpful it will become to the reader. These are areas for improvement. But, I don't want to "nitpick"--the article is moving in a very good direction, and I am glad that the later films are finally discussed at length. I have to give so much of the credit to Jburlinson for all of his sizable contributions to this article. Much thanks! Garagepunk66 ( talk) 22:43, 2 May 2015 (UTC)
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)
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 -- /info/en/?search=Wikipedia:Peer_review/Luis_Bu%C3%B1uel/archive1 Thanks.-- Jburlinson ( talk) 01:20, 17 December 2014 (UTC)
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)
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