The Exterminating Angel
(Luis Buñuel, 1962)
The guests at an upper-class dinner party find themselves unable
to leave.
Often
described as the twin film to director Luis
Buñuel’s own The Discreet Charm of
the Bourgeoisie, The Exterminating
Angel is a surrealist exercise of style and screenwriting. Again shot by
long time collaborator to Buñuel, Gabriel
Figueroa, The Exterminating Angel
is the story of a group of high class bourgeois that are invited at a dinner
party after the opera. Strangely as the guests arrive to the mansion almost all
of the domestics leave the house just like rats in a lost ship. Then with
twenty seven various repetitions in the story the guests are isolating
themselves in the house and have to live together in this island. Much like a
play on Lord of the Flies or an essay
on Jean-Jacques Rousseau’s writings, Buñuel demonstrates how decorum and ethic
codes are pompous and empty when humans are piled like a horde of dogs
together.
While playing
on the edge of comedy, social commentary, and experimental cinema, Buñuel was a
one of a kind storyteller. Even more with The
Exterminating Angel than with The
Discreet Charm he had to convince us of believing such a story and not make
us blink with the repetitions. The first two repetitions are quite obvious with
the two arrivals of the guests and the two toasts but as the story goes the
subtlety of those is almost unperceptible. Just like the characters of his
story, Buñuel wants to debilitate us from seeing with our conventional and
conformist eye.
In this
social commentary by The Exterminating
Angel, there’s a clear contempt of the upper-class and its ways. Presenting
them as animals or even as wolves. It is clear that Buñuel couldn’t have made
such movies some those themes under the Hays code in USA. By chance, Mexican
backers believed in their director and left us a great heritage of unique films
of great quality.
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