Bunuel_Luis_My_Last_Breath

Mexico (1946-1961) 213million people living in these slums by the year 2000. Given thedramatic pollution problem (a direct consequence of this uncontrolledurban growth), the lack of adequate water, the ever-wideninggap in income levels, inflation, and the overwhelming influence ofAmerican economic policy, it's clear that Mexico still has enormousdifficulties to overcome.As a general rule, a Mexican actor would never do on the screenwhat he wouldn't do in real life. When I was making El brut8 in1952, Pedro Armendariz, another one of those who used to shootoff his gun from time to time in the studio, refused to wear shortsleevedshirts because tradition had it that this article of clothingwas reserved for homosexuals. In addition, there's a scene in themovie where Pedro is being pursued by butchers in a slaughterhouse,and at one point, a knife already lodged in his back, he runs into ayoung orphan girl. He claps his hand over her mouth to keep herfrom screaming, and when his pursuers have gone, he tells the girlto pull out the knife. Confused, she hesitates."There!" he screams. "There! Behind! Pull it out!"Suddenly one day in the middle of rehearsal he shouts: "Yo nodigo detras!"-I refuse to use the word "behind." Such language, helater explained, would be fatal to his reputation.In I 955 and I 956, besides The Criminal Life of Archibaldo de laCruz, I made two French-language movies: Cela s'appelle I'aurore,which was shot in Corsica, and La Mart en celardin (Gina), whichwe made in Mexico. The first was adapted from a novel by EmmanuelRobles. I liked the film very much, although I haven't seen it sinceit was made. Claude Jaeger, a good friend who played several bitparts in other films of mine, was the production manager; MarcelCamus was my first assistant; and Jacques Deray, a very tall youngman who walked very slowly, was his backup. Lucia Bose, the leadinglady, was then the fiancee of the famous toreador Luis-Miguel Dominguin,who used to call constantly just to keep tabs on GeorgesMarchal, the male lead. I collaborated on the script with Jean Ferry,who was very close to the surrealists. Among our frequent arguments