Bunuel comes most readily to mind.  In UN CHIEN ANDALOU, the front door
of an apartment building is in Paris, the back door (seen minutes later)
looks out on a beach.  In BELLE DE JOUR, there is no way to know which scenes
are "real," and which are dreams or fantasies.  Bunuel himself told inter-
viewers he had no idea where the fantasies began or ended.  Or, in terms of
the original question to SCREEN-L, Bunuel didn't know when the narrator was
unreliable.
 
        In THE MAN WHO SHOT LIBERTY VALANCE, on the other hand, the true and
reliable story is told in the end.  But this film is interesting because it
gives a journalist's or historian's justification for propagating the
unreliable story.
 
                                        Peter Lev
                                        Towson State U.
 
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