L'Age d'Or (French: L'Âge d'Or, pronounced: [lɑʒ dɔʁ]), commonly translated as The Golden Age or Age of Gold, is a 1930 French surrealist comedy directed by Luis Buñuel about the insanities of modern life, the hypocrisy of the sexual mores of bourgeois society and the value system of the Roman Catholic Church. The screenplay is by Salvador Dalí and Buñuel.L'Age d'Or was one of the first sound films made in France, along with Prix de Beauté and Under the Roofs of Paris.
In a series of thematically-linked vignettes, a couple's attempts at fulfilling and consummating their romantic relationship are continually thwarted by the bourgeois values and sexual mores of family, church, and society. In the course of seeking sexual release and satisfaction, involving the man imagining an advertisement has come to life of a woman's hand rubbing herself, then later she tells her mother she hurt her finger, then a waiter at a party rubs a wine bottle in a similar fashion and the woman sublimates her sexual passion by fellating the toe of a religious statue before finally French kissing her father. The man's penchant for committing social taboos, like making love in the mud during a religious ceremony and slapping her mother, seems to excite the woman. He stumbles away from the father and daughter kiss to her bedroom where he throws a burning tree, a bishop, a plow, the bishop's staff, a giraffe statue and handfuls of pillow feathers out the window.
L'Age d'Or (French: L'Âge d'Or, pronounced: [lɑʒ dɔʁ]), commonly translated as The Golden Age or Age of Gold, is a 1930 French surrealist comedy directed by Luis Buñuel about the insanities of modern life, the hypocrisy of the sexual mores of bourgeois society and the value system of the Roman Catholic Church. The screenplay is by Salvador Dalí and Buñuel.L'Age d'Or was one of the first sound films made in France, along with Prix de Beauté and Under the Roofs of Paris.
In a series of thematically-linked vignettes, a couple's attempts at fulfilling and consummating their romantic relationship are continually thwarted by the bourgeois values and sexual mores of family, church, and society. In the course of seeking sexual release and satisfaction, involving the man imagining an advertisement has come to life of a woman's hand rubbing herself, then later she tells her mother she hurt her finger, then a waiter at a party rubs a wine bottle in a similar fashion and the woman sublimates her sexual passion by fellating the toe of a religious statue before finally French kissing her father. The man's penchant for committing social taboos, like making love in the mud during a religious ceremony and slapping her mother, seems to excite the woman. He stumbles away from the father and daughter kiss to her bedroom where he throws a burning tree, a bishop, a plow, the bishop's staff, a giraffe statue and handfuls of pillow feathers out the window.