In
this atavistic parable, dinner guests are
mysteriously trapped and only saved from turning on
each other by the equally mysterious appearance of a
flock of sheep.
The sound of a tolling church bell
prefaces the bizarre events that are to unfold at a
Mexican estate on Providence Street. An aristocrat
appropriately named Nobile (Enrique Rambal) has invited
several society friends to his home after the opera. But
even as the dinner preparations are underway, the
servants feel an inexplicable urge to depart from the
premises. Despite the threat of dismissal, an anxious
footman, Lucas (Angel Merino), is the first to leave. As
the guests arrive and ascend the stairs to deposit their
overcoats for the evening, two more servants attempt to
escape, only to turn back when the guests emerge from
the room. Or do they? Curiously, the entrance scene of
the guests is repeated from a higher camera angle, and
this time, the servants successfully escape.
The
dinner is a great success. The hours pass. The people
yawn and stretch out in exhaustion, yet no one leaves.
Despite the mutual realization of the guests that they
have clearly overstayed their welcome, no one wants to
bear the distinction of being the first person to leave
the dinner party. The veneer of civility erodes as
desperation and distrust set in, and inevitably, the
guests turn against their accommodating host, blaming
him for their absurd, self-induced
captivity.
Luis Bunuel uses sardonic humor and
surrealist imagery as instruments of social indictment
in THE EXTERMINATING ANGEL. In a culture defined by
etiquette instead of humanity, Bunuel exposes the
underlying artifice and hypocrisy of civilized society.
In essence, it is the burden of the guests to perform
the meaningless, Sisyphean rituals dictated by their
privileged class: the repetitive introductions, the
polite acceptance of social invitations, and the
perpetuation of self-indulgent dinner parties. However,
it is also the passive comfort of their social status
that creates their claustrophobic isolation and
complacent inertia. Stripped of their pretense, their
innate behavior remains fundamentally instinctual, base,
and primal. Ironically, it is a return to the ritual
that liberates them from their artificial prison. THE
EXTERMINATING ANGEL is a mesmerizing, richly symbolic,
allegorical tale on the nature of human behavior: of
masters and servants, of excess and want, and of
fraternity and alienation.
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