Du papier à l’écran, la ville de Paris dans Le journal d’une femme de chambre
From Paper to Screen, The Diary of a Chambermaid

Summary/Abstract: “It’s not my fault if the souls, whose veils are torn off and shown naked, exhale such a strong smell of rot”... Luis Buñuel and the screenwriter Jean-Claude Carrière have chosen to transpose the action of the eponymous novel by Octave Mirbeau in 1930, at the time of the birth of the fascist leagues! Mirbeau places the episodes of his novel in the era of the Dreyfus Affair. In this paper, we will try to show the importance of the city of Paris in Octave Mirabeau’s work and the extent to which Luis Buñuel in his film adaptation remained faithful to Mirabeau’s perspective. To do this, we will focus on some differences between the novel and the film in order to show that it is a “Belle-Infidel” and that Mirbeau, watching Buñuel’s film, would certainly not have recognized his child.

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