Diary of a Chambermaid (1964)

This is only my second Bunel film (The Discreet Charm of the Bourgeoisie), and I am fascinated with the way he portrays the upper crust. here we have an odd family with some strange habits. Didn't you always think they were like that. It's the old joke about how you can determine class bu how two couples sit in a car. Lower class - men in front and women in the back; middle class husbands and wives sit together; upper class husbands sit with the other's wife.

Show fetishes, randy husbands, cold wives, rape and murder are all here amidst a fascist France. They are always going on about the republicans, ours would fit right in with the anti-semitism and xenophobia.

Among all this is the classic acting of Jeanne Moreau, a classy chambermaid, who is even willing to marry a fascist to prove him guilty of murder and rape. In the end, she turns out to be just an opportunist.

It would probably be more enjoyable knowing more about 1930s France, but it was still a classic.

Fmovies: I will say outright that not only is Luis Bunuel my favorite film director but I also consider him one of the ten of the all-time greatest. Rarely did a renowned film-maker make such a remarkable comeback after years of exile as Bunuel did with LOS OLVIDADOS (1950) and, even rarer still, did one director have such a sustained series of masterworks released towards the twilight of his career. Having said all this, however, I think that LE JOURNAL D'UNE FEMME DA CHAMBRE aka DIARY OF A CHAMBERMAID (1964) is the weakest of the final ten feature films Bunuel made during the most fruitful period of his career (between 1961 and 1977) – if such a choice were to be made, that is.

Don't get me wrong; I do think that LE JOURNAL is an excellent film and would probably be considered a bona-fide masterpiece if it were made by a lesser director. There is much to enjoy in the film: Jeanne Moreau's superb central performance as the opportunistic Celestine stricken by an unexpected sense of moral duty prompting her to nail the killer of the child even if she has to marry him to do so; Michel Piccoli's hilarious turn as the eternally insatiable but perennially unsatisfied master of the household who, when his sexual advances towards Celestine are turned down by the latter, has to make do with the ugly-looking house-maid; the aged father-in-law who invites Celestine into his room to read for him, all the while indulging in his foot fetish; the sadistic manservant who thinks nothing of violating and murdering innocent little girls while nurturing dreams of sealing his independence with the purchase of a pub all his own and with Celestine as his partner; the eccentric neighbour who sabotages their garden at every turn and yet yearns for Celestine's companionship, etc. Bunuel offers a typically scathing satire of the bourgeoisie here and, as has already been stated by others in this thread, also shows that he is adept at utilizing the widescreen format despite this being his first and only stab at it, as well as imbuing seemingly trivial and innocent sequences with a subtly perverse touch of subversion.

Even so, I do tend to generally agree with eminent film critic Leslie Halliwell's verdict on this particular film: 'Interesting but not especially successful Bunuel version; the subject is certainly up his street but the novel (by Octave Mirbeau) seems to restrict him'. I found the ending incomprehensible and disappointing myself at first but now I can appreciate not only its irony but its audacity. I have now watched the film three times – twice on VHS and once on Criterion's DVD – and I must say that it does improve with each viewing.

I don't know if anyone of you has seen Jean Renoir's 1946 US film version but somehow I actually prefer it to Bunuel's. I can't say I concur with Halliwell's review this time around dismissing as it did Renoir's film: 'Hollywood notables were all at sea in this wholly artificial and unpersuasive adaptation of a minor classic'! Leonard Maltin, a well-known US film critic, didn't like it much either saying that it was an 'uneasy attempt at a Continental-style romantic comedyÂ…tries hard but never really sure of what it wants to beÂ…(the cast) do their best to liven things'! Based on these two capsule reviews I was hardly expecting it to be a patch on the Bunuel version but I nevertheless purchased the PAL VHS (issued by 4 Front but subsequently deleted) since it was quite cheap and, after all, medium Renoir (another o

This is the most straight-forward film I've seen by the surrealist master Bunuel, and despite its cryptic turn in the final moments, is funny, chilling, and a bit nasty. The story follows an urbane chambermaid from Paris who comes to work at the country estate of a repressed bourgeosie family. She weathers passes from every man in sight and deflects them, but for morally ambiguous reasons. Moral ambiguity is rampant, as it is so often in Bunuel's films, and spread liberally amongst all classes. It's subtly a film about selling out, except that nobody seemed to have any principles to begin with. Good fun. Now tell me what the ending was all about.

Diary of a Chambermaid fmovies. A young woman reports to work as a chambermaid at the residence of an eccentric family in the French countryside. Moreau is fine as the maid, a strong-willed woman who attracts the attention of practically every man in the household and neighborhood. Geret as a servant and Piccoli as the testosterone-laden man of the house also turn in notable performances. In one of his more accessible films, Bunuel creates some beautiful imagery with his wide-screen black and white cinematography. However, the script is uneven, with the plot point concerning the rape and murder of a child mixing uneasily with the political and comedic elements. The conclusion is abrupt and unsatisfying.

The best thing about Bunuel is his ruthless lucidity, and it's thoroughly on display here. All his films start from the conviction that no one is to be pitied - or even if they are, Bunuel, like life, will not oblige, and neither the audience nor the person concerned should expect it of them. Which is not to say that all abuses are right - the film postulates that between fascist and violent criminal there is little difference, and then, true to lucid form, makes it clear at the end that evil does *not* automatically bring about its own destruction; a fact not to be lamented but fought over. Bunuel said he thought it was his most erotic film. It's not an unreasonable claim. There's not a single sex scene. Go figure.

Bunuel's 'Diary Of A Chambermaid' was released in between two of his surreal masterpieces 'The Exterminating Angel' and 'Simon Of The Desert'. It is, on the surface at least, a lot more conventional as either of those, maybe that's why it doesn't get as much attention as it deserves. I don't know why it is rarely mentioned when people discuss the very best of Bunuel, but for me it's almost as great as 'Viridiana' and 'Belle De Jour'. The story was previously filmed by Renoir in the 1940s, but I haven't seen that version, so I can't say how different Bunuel's approach to the material is. As Bunuel claimed not to have seen it either I don't feel so bad. Jean Moreau, the beautiful star of Truffaut's 'Jules And Jim' and countless other Euro art film favourites, gives a brilliant performance as the enigmatic Celestine, maid to The Monteils, a very odd family living in pre-War France. Bunuel includes some of his usual comments about sexual deviance, and France's future under the Nazi occupation haunts the whole film, but what is most interesting to me about the picture is its subtlety and ambiguity. Like 'Belle De Jour' I think each repeated viewing will reveal more, and opinions on its meaning will depend on the individual viewer. Personally I'm still exploring Bunuel's extraordinary body of work. It is exciting doing so. I've probably only seen a third of his output so far, but I've yet to see a movie made by him that is less than fascinating. 'Diary Of A Chambermaid' just might be his most underrated film. I highly recommend it.