Belle de Jour (1967) Ending Explained
TL;DR:
Belle de Jour (1967), directed by Luis Buñuel, follows Séverine (Catherine Deneuve), a wealthy but sexually repressed housewife who secretly works as a high-end prostitute during the afternoons. The film's ambiguous ending leaves her fate open to interpretation: after her husband Pierre (Jean Sorel) is shot by a jealous client, he miraculously recovers but is left paralyzed. In the final scene, Séverine imagines or experiences a return to normalcy as Pierre suddenly stands and walks, suggesting either her guilt-ridden fantasy or a surreal resolution to her double life. The film explores themes of desire, repression, and the blurred lines between reality and fantasy.
The Ending Explained:
The final moments of Belle de Jour are deliberately enigmatic, reflecting Buñuel's signature surrealist style. After Pierre is shot by Marcel (Pierre Clémenti), a violent client obsessed with Séverine, the film jumps forward in time to show Pierre in a wheelchair, seemingly unaware of his wife's secret life. Séverine, consumed by guilt, tends to him dutifully. In the last scene, as they sit in their garden, the sound of carriage bells-a recurring motif symbolizing Séverine's fantasies-triggers a vision where Pierre stands and walks toward her. This moment could be read as Séverine's desperate wish for absolution, a hallucination born of guilt, or a surreal twist where her repressed desires manifest in reality.
Unresolved Questions:
1. Is Pierre's recovery real or a fantasy?
- Fantasy: The carriage bells suggest Séverine is daydreaming, projecting her longing for normalcy.
- Reality: Buñuel often blends surrealism with reality, leaving it open to interpretation.
2. Does Pierre know about Séverine's double life?
- Yes: His paralysis could symbolize emotional detachment or punishment for her.
- No: His ignorance underscores the film's theme of hidden desires.
3. What does the ending say about Séverine's liberation?
- She's trapped: Her guilt binds her to a hollow marriage.
- She's freed: Pierre's miraculous recovery hints at reconciliation.
Themes and Symbolism:
The ending crystallizes the film's exploration of duality and repression. Séverine's daytime alter ego, “Belle de Jour,” represents her suppressed sexuality, while her marriage embodies societal expectations. The carriage bells, tied to her masochistic fantasies, blur the line between her inner and outer worlds. Buñuel critiques bourgeois hypocrisy, suggesting that Séverine's prostitution is no more immoral than the constraints of her marriage. The abrupt resolution-whether real or imagined-mirrors the unpredictability of desire and the impossibility of reconciling societal norms with personal fulfillment.
Personal Opinion:
Belle de Jour's ending is a masterstroke of ambiguity, perfectly encapsulating Buñuel's disdain for tidy resolutions. Séverine's arc is tragic yet darkly comedic; her attempts to reconcile her desires with societal expectations are futile, and the finale underscores this. The surreal twist (or fantasy) of Pierre walking feels like a cruel joke, leaving Séverine in a purgatory of her own making. Deneuve's icy performance amplifies the tension between repression and liberation. While frustrating for those craving closure, the ending is a testament to Buñuel's genius in portraying the absurdity of human conventions.
Legacy and Impact:
Decades later, Belle de Jour remains a landmark of erotic cinema and surrealist storytelling. Its influence is evident in films like Eyes Wide Shut and Secretary, which similarly probe the intersection of fantasy and reality. The ending's ambiguity invites endless debate, ensuring the film's place in cinematic history. Whether viewed as a psychological drama, a feminist critique, or a surreal farce, Belle de Jour challenges audiences to confront their own assumptions about desire, morality, and the masks we wear.