“Salvador Dali seduced many ladies, particularly American ladies, but these seductions usually consisted of stripping them naked in his apartment, frying a couple of eggs, putting them on the woman’s shoulders and, without a word, showing them the door.”

This quote was uttered by Luis Bunuel. The famed surrealistic film maker was a renown sophisticated drinker. TIME magazine had reviewed his 1967 offering about a French housewife drawn into prostitution by her lust. BELLE DU JOUR was rated R. I wanted to see it badly. The cashier at the Pilgrim Theater in Boston’s Combat Zone was a film buff. She let me in twice. I was a good-looking 15 year old.

When my professor in CINEMA 101 extolled the LE CHIEN ANDALOU as the triumph of the mind over materialism, I countered that the sophomoric cartoon of Freudism couldn’t compare to the raw sensuality of Catherine Deneuve. The professor disapproved of my argument and my final grade was a D+.

Luis Bunuel won accolades at Cannes, Venice, and even scored to Oscars with THE DISCREET CHARM OF THE BOURGEOISIE in 1972 and THE OBSCURE OBJECT OF DESIRE in 1974. My film professor would have approved of both films, however my second favorite Bunuel film was SIMON OF THE DESERT about an ancient priest living atop a Roman pillar seeking enlightenment only to fail by succumbing to the Devil’s succubus.

The movie lasted 45 minutes and the last scene is the fallen saint in a New York beatnik bar. His reward from Satan. Bored and blase.

I saw it recently for the fifteenth time. For years I thought the film’s brevity was due to the Mexican producer running out of funds, but the Mexican actress Silvia Pinal revealed, “It is not true that Simon of the Desert was a medium-length film because of Gustavo Alatriste’s economic troubles. It was a production problem. There were supposed to be three stories with different directors. Buñuel’s was just one of them. Alatriste and I went to Europe to seek Federico Fellini, who was delighted to film with Buñuel, but he suggested his wife Giulietta Masina as the star. We saw another director, Jules Dassin, who would also accept if he was able to work with Melina Mercouri, his wife. We said no to them, because the idea was that the three stories would be starred by me. So, because everyone wanted to direct their own wives, Alatriste wanted to direct his own part with his wife, with me. I said no, and that was the beginning of our separation. Alatriste could not understand, or at least he was very hurt, when I explained to him that he could not direct besides Buñuel.”

I love SIMON OF THE DESERT and to view this finnal scene please go to the following URL