“Thank God I’m an Atheist: Bunuel’s Last Laugh,” the second installment in my “Self-Help for Surrealists” series is live, on Thought Catalog, HERE.
Buñuel is a philosopher — a moral philosopher, to be exact, albeit one who makes his case with gleeful, Surrealist savagery, using images dredged from the depths of the unconscious. A sardonic satirist and inveterate practical joker—he once strolled down the boulevard Montparnasse dressed as a nun, complete with false eyelashes and lipstick—he is, at the same time, shadowed by the existential melancholy from which the lapsed Catholic never fully recovers. He loves disguises, and it can’t be mere coincidence that he gets a perverse kick out of passing as a priest. Religion is his abiding theme, there from the first in Un Chien Andalou, in the two priests yoked to the protagonist and dragged unceremoniously across the floor, the dead weight of so much obsolete belief; there at the end in his last movie That Obscure Object of Desire (1977), where the bombing campaign of a gang of absurdist terrorists calling itself the Revolutionary Army of the Infant Jesus is the backdrop to the movie’s May-December romance (itself fairly explosive!).