This is a tender, generous movie that likes its characters and presents them as real people, full of flaws and strengths.

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

How free are human beings when every aspect of our being is decided by forces beyond our control? L'Age d'Or explores the notion of the damage caused by the human spirit that must submit to the shackled world society's, religion's, and family's expectations. Luis Buñuel was responsible for one of the most important films in cinematic history with his 1930 film L'Age d'Or. Buñuel was able to explore such deep, resonating themes, and keep his life, by putting a surreal spin on the narrative like only he can do. Written with the aid of Salvador Dalí, this team proved that, a personal favorite and equally as important film Un Chien Andalou (1929), was not a one-time swipe at a hard-hitting necessary film. Gaston Modot and Lya Lys star as a man and a woman who want to love each other and face opposition from the class society that separates them, the church, and family's of the two which are determined to keep them divided.In a film that brilliantly begins as a documentary about scorpions, L'Age d'Or quickly draws parallels to humanity and begins to explore that tale of a man (Gaston Modot) and a woman (Lya Lys) who are desperately in love with one another. Through several independent yet corresponding incidences, the audience is made aware that the bourgeoisie, church, and each of their families are against the idea of the two forming a union. Determined to remain together, the man and woman attempt to defy the odds and consummate their love. Luis Buñuel is responsible for some of the most beautiful, starkly real images I have ever seen. You gain a lot of freedom when you shoot such a biting social commentary with such surreal imagery, as Buñuel chooses to do with this film and many others. Only ever referring to the protagonists and "man" and "woman" ensures Buñuel's message will not be lost; no matter how free you think you are, there are forces controlling you even on a subconscious level. None of us are free to live the life we have imagined for ourselves, we cannot even love who we choose to love unless it is agreed upon by society and all its agencies. Buñuel captures imagery that will stick with the audience long after the film ends, really illustrating the struggles of life and society that we all face, whether we are aware of them or not.

Normally I write the plot here, but I have no idea how...The film starts off explaining the physical and biological makeup of the scorpion, making me wonder why the film is called "The Golden Age". That soon goes away. Then we are treated to dirty men, perhaps gold miners... so what is all this talk of accordions and hippopotamuses? The film gets even more strange from there on out, with withering toilet paper, a violin and other such nonsense, somehow connecting the opening non-fight non sequitoriously to Imperial Rome and some French people... Then a man who sees women masturbating in posters...What the heck is a Majorcan? And what is up with the foot fetish scene? I like feet as much as the next guy -- maybe even more -- but I was more than a little put off by the drawn-out love between the woman and the statue. And then, "What joy in having killed our children!" Then a Majorcan returns... a flaming tree... a giraffe getting pushed out a window... and then what seems to be a reference to the Marquis de Sade's "120 Days of Sodom".Four times as long as "Un Chien Andalou", but strangely enough not as weird... this film may not make much or any sense, but it truly is a surrealist masterpiece.

This movie is something. Exactly what it is I don't know! But if I did, then I guess Bunuel and Dali wouldn't have accomplished what they set out to do.It's full of haunting images and haunting juxtapositions of classical music and image (the uses of Wagner's Prelude and Liebestod from Tristan and Isolde are especially striking!). The randomness of these images and scenes may put off some viewers, and it did take me a while to get into it, but they're likely to stick in viewers' minds for some time. In a way it reminds me of Bunuel's later The Discreet Charm of the Bourgeoisie, except this one has a couple's lovemaking constantly thwarted instead of dinner. While I didn't find this one to be quite as solid as that film, it certainly had its strengths.And I couldn't believe how despicable our hero was! Some of the things he does in this film are so wretched it's hilarious (such as punting a poor little doggy!). I also can't imagine that using the image of Christ in a scene based on the 120 Days of Sodom did much for the filmmakers' popularity at the time, but it is a striking way to end the picture. Last but not last, I just have to mention my favorite insane line from the movie: "What joy! What joy! To have murdered our children." This said by our heroine-of-sorts with a rapturous smile on her face.

Luis Bunuel was certainly a film maker who's films were a lightning rod for controversy. His first silent short, 'Une Chien Andelou'(with a screenplay written with Salvadore Dali)from 1929 was both a hit for audiences,as well as for psychologists who had a field day picking the Fraudien images apart. Despite a falling out with Dali during the screenplay writing phase for their next project (resulting in the two never talking to one another for the rest of their collective lives),Bunuel still,none the less,kept Dali's name on the credits (Dali also kept distance from the film,as well). The results were 'L'Age d'or',from 1930,which was an obvious attack on the ruling class,and it's tight moral structure, regarding sexuality. The film also took a number of pot shots at religion,family values,and other material that enraged French audiences so that in it's premiere,a full tilt riot broke out at the cinema that screened it in Paris. Because of this,the film was banned for over 50 years. To look at it now,it still packs a bit of a punch. The images are very surreal & dream like (i.e.it begins with what looks like a documentary of scorpions,and cuts to a totally unrelated series of short stories). This is a film that historians should see, as just what ticked off audiences back then. Besides the film's mostly French cast,it also features fellow surrealist artist,Max Ernst,in a small role as a bandit chieftain. Spoken in French with English subtitles. Not rated,this film does serve up some material that by today's standards would land it little more than a PG rating today (a few brief flashes of semi nudity,various sexual goings on,etc.),but shocked many back in the day.