"The Discreet Charm of the Bourgeoisie" Interweaving of Reality and Dreams

The Discreet Charm of the Bourgeoisie1972

Luis Buñuel, the Spanish director, is known as the "father of surrealist cinema." His debut film, "Un Chien Andalou," established his unique surrealistic style. In "The Discreet Charm of the Bourgeoisie," Buñuel continued this approach, vividly portraying the inner anxieties of a group of upper-middle-class characters. The film's absurd atmosphere, created through the interweaving of reality and dreams, once again showcases Buñuel's surrealistic flair. This film also won the Best International Feature Film at the 1973 Oscars.

The main characters are influential figures, including ambassadors, ministers, and heads of security departments, who have complex relationships and connections with military personnel. Logically, such individuals should be high-level members of society, living comfortably. They certainly believe so themselves. However, a delayed dinner gathering frustrates them immensely. The reasons for their failure to dine are varied. Firstly, they misunderstand the gathering time and arrive at the host's house unprepared. Then they go to a restaurant, ready for a meal, only to discover a funeral ceremony taking place inside. Naturally, they cannot bear to eat in such an environment. 

Later, either because the hosts are preoccupied with intimate activities or due to the arrival of military personnel, they are again unable to complete their meal. As the saying goes, "night brings trouble," and they become restless in a series of nightmares, never managing to finish their dinner.

Luis Buñuel is known for his radical atheism and sharp, merciless criticism of religion and the bourgeoisie. In this film, he portrays a less-than-noble priest. The priest initially wants to be a gardener, so he takes off his robe and dons gardening clothes, only to be scolded by the homeowner. However, when he re-enters the house in his priestly robe, he is treated with great courtesy. 

Buñuel uses this scenario to satirize the middle class's superficial judgment based on appearance and to critique religion. The priest's nobility is merely a result of the sacred robe, which has been deified by society. In essence, his role is no different from that of a gardener. Later, the priest is called to give the last rites to a dying farmer, only to find out that the man is his father's murderer. Initially, he shows a gesture of forgiveness but then picks up a shotgun and kills the dying man, which sharply satirizes his so-called values of tolerance.

The dream sequences in the film are particularly intriguing. The recurring nightmares of these "successful individuals" stem from both internal and external factors. On one hand, they are "tainted," engaging in various illegal activities. On the other hand, the film reflects the social reality of escalating class conflicts. Consequently, they dream of preparing a meal on stage with the backdrop suddenly pulled open, clashing with military personnel and killing a lieutenant colonel, being arrested by the police and thrown into prison, and being invaded by revolutionaries at home—all ending in tragedy. 

They live in constant fear, repeatedly waking from nightmares only to find everything seemingly fine, though the shadows in their hearts persist. Buñuel introduces the dream sequences subtly, building up to a climax without warning, and then revealing it was all just a dream. Eventually, it's difficult to discern whether a particular scene is real or imagined, which is truly impressive.

While Buñuel's films are surrealistic, they are undoubtedly grounded in realistic elements. At 72 years old, he did not become more sentimental like many directors of his age. Instead, he continued his sharp, persistent style. Such perseverance is admirable, and Buñuel deserves great respect for his unwavering dedication to his craft.