A party of would-be diners are constantly
frustrated in their search for food. The rituals of food
and drink, for Bunuel, conveniently signified the whole
structure of ‘civilisation’, by which mankind seeks to
create meaning and impose order on the absurdity of
life. Challenge or remove them, and chaos
threatens.
The guests arrive at the Senechal home for a
dinner party, only to discover that the invitation had
been given for the following evening. This
miscommunication proves to be the first in a series of
unusual events that invariably prevent the Thevenots
(Paul Frankeur and Delphine Seyrig), the Senechals
(Jean-Pierre Cassel and Stephane Audran), Don Rafael
(Fernando Rey), and Florence (Bulle Ogier) from enjoying
a meal together. An alternate plan to dine at a local
bistro is foiled when a funeral wake for the restaurant
owner is held in an adjacent back room. Another dinner
party is promptly cancelled when the Senechals sneak
away from the house for a moment of intimacy, and the
guests mistakenly conclude that a raid on the house is
imminent. The women meet for drinks, but are informed
that the cafe is out of tea and coffee after an
unusually busy day. A subsequent dinner party is also
disrupted when the military unexpectedly turns up for
training exercises at the Senechal estate. Even dreams
provide little respite for their frustrated efforts to
hold a dinner party, as the guests inexplicably find
themselves seated on stage during the performance of a
play, or creating an international crisis when the
colonel (Claude Pieplu) insults the obscure Republic of
Miranda, in front of the ambassador, Don
Rafael.
Luis Bunuel creates an absurdly comic and
wickedly incisive portrait of the meaningless social
rituals and polite hypocrisy of the upper middle class
in The Discreet Charm of the Bourgeoisie. By
interweaving exaggerrated reality with lucid dream
sequences, Bunuel blurs the distinction between
civilized behavior and social indictment. As in THE
EXTERMINATING ANGEL, the inability of the guests to
enjoy a defining ritual associated with their class
results, paradoxically, from an unwillingness to break
from social tradition. In essence, the dinner party
provides the means for validating social worth, and
therefore, becomes an indispensable, self-perpetuating
event for the guests. But inevitably, like the repeated
image of the weary guests walking on a deserted street,
it is an endless and incomprehensible path that
ultimately leads nowhere.
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