Diary of a Chambermaid opened the later French period of Luis Bunuel (1964-1977) during which he made his most well known films such as Belle de Jour, That Obscure Object of Desire and The Discreet Charm of the Bourgeoisie. Diary of a Chambermaid is another of his attacks on the bourgeoisie but what differs it from the rest is its genuine darkness and pessimism. It's a film about fight of the classes, fascism and a satire of the decay of the French society.
Set in early 1930's; a new chambermaid, Céléstine (Jeanne Moreau) arrives to the Monteil mansion. Soon she gets to know the bizarre family full of odd characters; Madame Monteil who seems to be more interested in taking care of their family's furniture than her husband, Monsier Monteil who isn't interested in anything but hunting and Madame's father who is a shoe-fetishist.
Céléstine is in between of two worlds; the city and the country, the working class and the bourgeoisie. She's not settled in; so she's not part of the country nor the city as she isn't part of the bourgeoisie or the working class. She doesn't really know where she is, she's a very elusive figure; so she is in the move all the time. Each time the camera let's us observe her, she's in the move. But when Céléstine climbs up the ladder of the social hierarchy she stops. She lies in her bed and commands people around her; the snow outside indicates this age of stagnation she has now entered.
Diary of a Chambermaid is based on the novel by Octave Mirbeau which was first adapted on screen by Jean Renoir in 1946. The first word of the title 'diary' refers to the protagonist of the story and in the novel everything is seen from Céléstine's perspective - and no thoughts of her can escape from us. But Luis Bunuel didn't want to focus on one perspective, he wanted to show the perspective of Céléstine but also of the strange people living in the mansion.
Bunuel's film portrays life in a swamp. He has transformed the bourgeoisie settings, he grew up in Spain, to France brilliantly. Swamp, of course, indicates a state of life; when you're in a swamp there is no way out. You are stuck and cannot move. This refers to the pessimism of Diary of a Chambermaid; there is no hope and the end shows that Luis Bunuel portrays a humankind with no future; the similar storm and clouds in the end, as in the beginning. All the horrors will happen again and again.
Diary of a Chambermaid is a film of antitheses. The city and the country, the bourgeoisie and the lower class - as mentioned, woods and the mansion, house animals and the wild animals. The two latter couples refer to the dichotomy of the film. The house symbolizes civilization where people are frigid and mellow, even the animals are under control. On the contrary, the woods symbolize the wild side of man where one's desires and passions run wild, where rules and standards are cut off and, where the rabbits, wild boars and snails are out of control.
It's a very clever film - attack on the bourgeoisie, a common subject for Bunuel but he was never as cruel, ruthless and pessimist about it as in Diary of a Chambermaid. Rapes, hypocrisy and disregard are the main elements which characterize the atmosphere of this film portraying a swampy world.
Set in early 1930's; a new chambermaid, Céléstine (Jeanne Moreau) arrives to the Monteil mansion. Soon she gets to know the bizarre family full of odd characters; Madame Monteil who seems to be more interested in taking care of their family's furniture than her husband, Monsier Monteil who isn't interested in anything but hunting and Madame's father who is a shoe-fetishist.
Céléstine is in between of two worlds; the city and the country, the working class and the bourgeoisie. She's not settled in; so she's not part of the country nor the city as she isn't part of the bourgeoisie or the working class. She doesn't really know where she is, she's a very elusive figure; so she is in the move all the time. Each time the camera let's us observe her, she's in the move. But when Céléstine climbs up the ladder of the social hierarchy she stops. She lies in her bed and commands people around her; the snow outside indicates this age of stagnation she has now entered.
Diary of a Chambermaid is based on the novel by Octave Mirbeau which was first adapted on screen by Jean Renoir in 1946. The first word of the title 'diary' refers to the protagonist of the story and in the novel everything is seen from Céléstine's perspective - and no thoughts of her can escape from us. But Luis Bunuel didn't want to focus on one perspective, he wanted to show the perspective of Céléstine but also of the strange people living in the mansion.
Bunuel's film portrays life in a swamp. He has transformed the bourgeoisie settings, he grew up in Spain, to France brilliantly. Swamp, of course, indicates a state of life; when you're in a swamp there is no way out. You are stuck and cannot move. This refers to the pessimism of Diary of a Chambermaid; there is no hope and the end shows that Luis Bunuel portrays a humankind with no future; the similar storm and clouds in the end, as in the beginning. All the horrors will happen again and again.
Diary of a Chambermaid is a film of antitheses. The city and the country, the bourgeoisie and the lower class - as mentioned, woods and the mansion, house animals and the wild animals. The two latter couples refer to the dichotomy of the film. The house symbolizes civilization where people are frigid and mellow, even the animals are under control. On the contrary, the woods symbolize the wild side of man where one's desires and passions run wild, where rules and standards are cut off and, where the rabbits, wild boars and snails are out of control.
It's a very clever film - attack on the bourgeoisie, a common subject for Bunuel but he was never as cruel, ruthless and pessimist about it as in Diary of a Chambermaid. Rapes, hypocrisy and disregard are the main elements which characterize the atmosphere of this film portraying a swampy world.