L'Ange exterminateur

I am not going to go into much specifics except to say that this is one of the darkest and most disturbing films I have seen. I would certainly in that way rank it alongside David Lynch's "Eraserhead," Werner Herzog's "Even Dwarfs Started Small," Terry Gilliam's "Brazil," and more recently Paul Thomas Anderson's "Punch Drunk Love." Each of these films is funny in a way, some hilariously, all subversively. I also must say, not to the detriment of the film necessarily, that this is one of the most irritating films I've seen. Bunuel truly gets under the skin of what gets under our skin: inane quirks, selfish boors, groupthinkers. The most disturbing imagery in the film suggests christian parallels with many of the guests praying or vowing to do good works if released, a butler that studied with jesuits and a final service in a church, as well as several lambs (often representations, as in Blake, of Jesus). Possible also are references to Passover's "exterminating" angel of death, as a brick thrown through a window is at first attributed "some passing Jew." I will not presume to interpret these, and I probably could not do so convincingly if I tried, and, much like with Eraserhead and Mulholland Drive, I don't really want them interpreted for me. This is the wonder of Bunuel. "Cinema is anarchistic" is a probable misquote of him, but from the time of his last film no filmmakers except those above have been able to capture the feeling while watching a film that ANYTHING can happen, and very quickly, and how very frightening that is. The other reason I write is that the VHS of this film is ATROCIOUS. The best part is where one guest babbles on for about 10 seconds, none of which is shown in the subtitles AT ALL. Most of them are difficult to read as they are against a white background, the quality is true crap. "Diary of a Chambermaid" is a fine film but this is the one that truly needs to be seen as it was intended. >

If you want an introduction into the anarchic, surrealistic, bourgeois-baiting world of Luis Bunuel 'The Exterminating Angel' is the best place to start. The initial premise is simple, albeit puzzling - the guests at a dinner party mysteriously find themselves unable to leave their hosts house at the end of the evening. There's no logical reason why, they just can't. They are confused at first, but as the days go by and the food starts to run out, they become increasingly more desperate and turn on each other. Bunuel makes the most of the idea and creates a complex, multi-layered movie, packed with fascinating small details, intriguing dialogue and surprising situations, most of which is left up to the viewer to "explain". Bunuel is one of those directors, like David Lynch, Russ Meyer or Coffin Joe, that viewers either "get" or they don't. His vision is original and uncompromised and not for everyone. Me, I think he made some of the greatest movies of all time, especially his fertile 1960s period which included some of his very best work like 'Belle De Jour' and yes, 'The Exterminating Angel'.

"The Exterminating Angel" is the ultimate COVID-19 pandemic movie.

A bunch of swells attend a dinner party. An offer made by the host to the guests to spend the night, an offer which everyone knows isn't supposed to be accepted, is, and, social codes being disrupted, calamity ensues. The guests become trapped together in the same room for four days, and their good manners and propriety gradually dissolve away until they're all acting like a bunch of savage lunatics.

Though made in the 1960s, "The Exterminating Angel," like all good films, is so astute about human nature that it feels as relevant now as it did then. The world seems full of a bunch of privileged people who have the luxury to go through life oblivious to the world around them. But then a pandemic hits, and they're freaking out about toilet paper.

I happened to watch this film a day or so after watching another Bunuel film, "Diary of a Chambermaid." Together, the two films serve as a withering denunciation of the middle class, whether it be in early 20th Century France, Spain of the 1960s, or the America of today.

Grade: A.

Señor Edmundo Nóbile, a wealthy aristocrat, is hosting a formal dinner party for his friends at his luxurious mansion. At the end of the party Nóbile, his wife, their guests and his butler (the other servants have already left) find themselves unable to leave the dining-room, so settle down to sleep on couches and the floor. The following morning they are still in the same inexplicable predicament. The doors are not locked but they are still unable to leave, as if some mysterious force field or psychological barrier were preventing them from doing so. They remain in the house in this state for several days, even though they run out of food and can only obtain water by breaking open a wall to get access to a water pipe. Even when one guest is taken ill, and later dies, they still cannot break out. The police and a crowd of people gather outside the house, but they are no more able to enter than those inside are to get out.

Luis Buñuel was one of the founders of cinematic surrealism, dating back to "Un Chien Andalou", his early collaboration with Salvador Dali, and "The Exterminating Angel" is often described as "surrealist". The surrealism starts with the title, which has nothing to do with anything we see on screen. Buñuel, who acted as both writer and director, explains the strange plight of the guests, either in rational or in supernatural terms. Nor does he provide us with any interpretation of the film's symbolism, leaving such matters for his viewers to interpret for themselves.

That, of course, has not prevented the critics coming up with their own interpretations, and there would not be room to deal with all of them in this review, although Buñuel clearly intended an element of satire at the expense of the upper classes. (It is no accident that the host of the party has the surname "Nóbile"). A popular interpretation put forward by, among others, Roger Ebert is that the film is an allegory of the Spanish Civil War and of the Francoist regime to which it led. (Buñuel himself was, of course, an opponent of Francoism and produced this film in exile in Mexico). Many of Spain's aristocracy and wealthy classes initially supported Franco, and many of them may well have hosted parties like the one we see here to celebrate his victory, but by the early sixties his brutal dictatorship had lasted for a quarter of a century and many Spaniards, even among those who had once supported him, were starting to feel trapped. A flock of sheep plays a part in the story, and these may represent those ordinary Spaniards who supported the Nationalist side in the Civil War, "sheep" being a commonplace metaphor for people who are stupid and easily led. They end up being eaten by the trapped aristocrats.

"The Exterminating Angel" is a film which tends to divide opinion, with some hailing it as a masterpiece and others finding it incomprehensible. I myself tend towards the second position, although Buñuel would probably have said that he never intended it to be "comprehensible" in the sense of having a simple, easily understandable meaning. He probably intended it to be just what it is, an elegant but ultimately insoluble puzzle with no more "meaning" than a Dali painting. 6/10

I discovered surrealist cinema as an adult. Of course, there are such scenes and images in many films, but I saw the first complete surrealist movie as a grown up. It was "Belle de jour", a film by Luis Buñuel, whose work I knew since watching his "Robinson Crusoe" in my childhood. Buñuel had gone a long way since 1928's "Un chien andalou", made in France. He had gone into exile during the Spanish Civil War, first to the United States and finally to México, where he spent the rest of his life. But he made films in Europe now and then, and had regained his status as one of the masters of world cinema. Although he did not think much of his Mexican motion pictures, his masterpiece "El ángel exterminador" is my favorite of all his films. He once complained that Mexican actors were not able to convey the spirit of the "haute bourgeoisie", but what he did not take into consideration was that, if he made a film in México about the rich, he was dealing with something else, called "creole oligarchies." And in this sense, this farce of the 1960s' Latin American "filthy rich" is most accurate. Moreover, with his usual affectionate treatment of the bourgeois (something he rarely did with clergy, female characters, or street urchins), he created a most believable funny portrait of the Latino rich people, who do not know what is their origin, who they should "pay tribute to", or where they are headed, unlike their European ancestors. Here, a group of those characters, born in México, gather for dinner after an opera performance, but when the time comes to leave the house of the Nobiles they cannot leave the room where they reunited for gossiping after meal. There is no apparent reason they cannot leave, but there they stay for days, going back to a primitive state in which their dearest "discreet charm" (euphemism, the rule of the game, as in Renoir's 1939 film) vanishes. And when they are set free, and go to a church to thank the Lord... well, Buñuel sure knew how to make fun of them, with situations verging on the fantastic and funny lines of incoherent, silly or ridiculous dialogue. A wonderful movie, which is always fun to watch again, especially in a double bill with another gem, the last one Buñuel made in México: "Simón del desierto."