Alessandro Cappabianca ( Filmcritica , No. 251, 1975)
The ghost of freedom presents the impact of significant structure in the heart of a story pre-coded: the result, which appears to us, it is still a code, one more structure, a combinatorial still governed by the laws of narrative. The horizon on which the measure is temporary in-likelihood is still that of verisimilitude, because freedom is the ghost structure in which the desire Bunuel, ghost who runs the space of the narrative. The character starring JC Brialy, keen on spiders and dreamer (which makes us feel quite entitled to borrow a few stretches identification with Buñuel), gave a nice declare: "I'm sick of symmetry, has a nice place to change objects on the mantelpiece (alteration of space-time series, the cause-effect relationships, etc..), has a bell'inserire, near the clock, a gigantic figure of Spider (intrusion into a series of incongruous term, or irrelevant ) relentlessly between the two symmetrical pairs of candlesticks, the spider is assimilated to the clock in the radial pattern of its structure. So it is not moving, not the spider the fireplace, allowing you to escape from the combinatorial and structural assimilation of the area governed by the conventions of narrative film. Buñuel knows this, and make a film that is almost a demonstration, to the extent that the meaning does not seem to load much of concussion drives, can actually undermine a structure, since, emptied of meaning, astrattizzati become ability to be neutral enough to be called emblems under their banners the most diverse and conflicting connotations. If a distinguished gentleman, well, distributes postcards / meaningful to the girls in the public gardens, these postcards can be considered pornographic, scandal and drama, cause layoffs, amatory awaken dormant ambitions and, instead, be then quietly returned (except one) girls with a "You can keep them" forever regardless of whether their subject / meaning is made up of banal views of the most famous monuments of Paris, not only but the very meaning of lapses in its neutral denotative show, and it connotes outside of any reference, when the appearance of the Sacre Coeur is greeted with a deprecatory "too obscene" by the parents. Ribadiamolo, therefore, that structure The ghost of freedom is, yes, the exchange of signifiers, but what marks their distance from défilés Lacanian, is the fact that this exchange does not break the appearance of the Logos (or the Cogito), but puts in a certain way to test the elasticity to the extreme limits, measuring the receptivity, the ability so to speak, to fill the vacuum, to withstand massive doses of non-sense. We witness, so to fractures of the way, its cracks, which flamed the surface without leaving explode, we are in front of a mosaic, not a conflagration, but the tiles (or groups of cards) of this mosaic, are not perfectly juxtaposed to one another, leaving gaps and cracks between them, which unexpectedly, drag the meanings, precipitano, scomparendo per sempre, le figure-guida, sostituite continuamente, come in una staffetta, da altre figure-guida. Non minore tra le frustrazioni che il film giustamente infligge, sta questa intercambiabilità di personaggi-guida (come richiesti dai codici narrativi e in quanto veicoli di identificazione) che ci osservano dallo schermo come tante “origini del mondo” e rinnovano ogni volta, scomparendo, il rito inquietante della sostituzione. Stabili sono solo i significanti (vuoti); per esempio, la sostituzione come personaggio-guida di Brialy con la Vukotic, avviene tramite la significante lettera: la lettera ricevuta “in sogno” che Brialy dà in mano al dottore (non se ne saprà mai il contenuto), metamorphosed in the letter that it also gives the doctor Vukotic, saying you have received it from her sister. Metamorphosis, mind you, not at all surreal, but diligently made "natural" on the narrative level: the fact is that this second meaning of the signifier / letter, stronger than before (but no suspect left the weakening of this), it expels the Brialy structure, and it casts Vukotic. Thus, the fetishism of the Commissioner (Pieplu) for the well-polished shoes, forcing the sergeant from the shoe, will introduce, the similarity in attitude, the young murderess with a gun, a painting by Goya ( The shootings of May 3, 1808 ) will introduce, top and eventually, to dig up strange adventures in grim sign of attempted sexual intercourse with a dead woman, and so on. Obviously, not all of these incidents have the status of switches: the Vukotic, for instance, will go through all the stories of the hotel (the prayer and play cards with the brothers - the hatter masochist - the couple's nephew (son)-aunt (mother ), etc..) before being canceled as a result of a ride offered to a distinguished professor. Some people even come back, albeit briefly, after having disappeared: see the girl's parents "kidnapped". We note here, as in the episode on receipt of WC that girls connote "honesty" ("Mom, I am here ..." "Mom I'm hungry ...") to the extent that they are still sticking out of the symbolic order (the signifier), which marks the be an adult: a condition that appear to share with animals (see the emblematic ostrich). In any case, symmetric matches to traverse the entire distance mosaic revolt in Spain / paid to the zoo; unearthing of Queen English / extrication's sister quaestor; Brialy doctor / doctor Rochefort, research and discovery of the fox / research and discovery the child; "paraphernalia" / "Miserere colic" blood / Porto red etc.. etc.. The structure profonda del simbolico sembra ricomporre gli accidenti della libertà a meno di non avere orecchio abbastanza fino da avvertire i rumori di rivolta, campane e tumulti, che la coda della colonna sonora propone assieme all’ultima immagine del film, l’inquietante struzzo, uccello fallico e surrealista, autre per eccellenza, in quanto autruche , laddove solo è possibile essere autenticamente autre , alla radice del significante.
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