"It's strange, how the country always seems sad. - I guess, people don't have much fun here."

Luis Bunuel's 1964 adaptation of Octave Mirbeau's novel Diary of a Chambermaid is like a more palatable version of Pasolini's Salo. Both deal with the Fascist leanings of the upper class, particularly in their hypocrisy and sexual depravity, though Salo turns that up to 11 which means Diary of a Chambermaid is significantly less upsetting. Which is not to say that upsetting things do not happen in the film. Bunuel also isn't trying to produce a gauntlet of vomit-inducing imagery, so there's that.

Anyway, before I make this post more of a complaint about Salo than a compliment to Diary of a Chambermaid let me get back on track. While not nearly as absurd as our previous Bunuel outing, Diary still holds the dark comedy, and a certain level of the absurdity, that I loved in that later film -- also a collaboration with Jean-Claude Carriere.

We talk more about it in this week's Lost in Criterion.