Not the first project that Buñuel undertook in France, but the one that signalled his thorough Frenchification: more refinement, more elegance, more finesse. The Octave Mirbeau novel, which Renoir had adapted into a synthetic Hollywood production in 1946, was felt by some (perhaps predominantly Renoir partisans) to be too Buñuelian for Buñuel's own good, too ready-made, too little trouble. But it tells an enthralling story, and it affords Buñuel more narrative suspense and suppleness than are generally expected of him. Historical footnote: the fascist political figure hurrahed in the final scene is the very man with whom the director had had censorship problems three and a half decades earlier. Jeanne Moreau, Georges Geret, Michel Piccoli. (1964) — Duncan Shepherd
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