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The Exterminating Angel (1962)

El Ángel Exterminador (original title)
Unrated | | Comedy, Drama, Fantasy | 21 August 1967 (USA)
The guests at an upper-class dinner party find themselves unable to leave.

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Writers:

(screenplay), (story by) | 1 more credit »
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3 wins & 1 nomination. See more awards »
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Cast

Cast overview, first billed only:
...
Enrique Rambal ...
Claudio Brook ...
José Baviera ...
Augusto Benedico ...
Antonio Bravo ...
Jacqueline Andere ...
César del Campo ...
Rosa Elena Durgel ...
...
Enrique García Álvarez ...
Ofelia Guilmáin ...
Nadia Haro Oliva ...
Tito Junco ...
Xavier Loyá ...
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Storyline

After a lavish dinner party, the guests find themselves mysteriously unable to leave the room... and over the next few days all the elaborate pretenses and facades that they've built up by virtue of their position in society collapse completely as they become reduced to living like animals... Written by Michael Brooke <michael@everyman.demon.co.uk>

Plot Summary | Add Synopsis

Plot Keywords:

surrealism | guest | dinner | room | party | See All (73) »

Taglines:

The degeneration of high society! See more »

Genres:

Comedy | Drama | Fantasy

Certificate:

Unrated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

21 August 1967 (USA)  »

Also Known As:

The Exterminating Angel  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

The film's cinematographer, Gabriel Figueroa, frantically approached director Luis Buñuel once he had seen the final cut of the film with concerns that there were several instances of repetition, something he was sure was an editorial mistake. Buñuel assured him that the repetition was a creative choice and reminded him that he edited his own films. The director recalled that Figueroa remained skeptical that the repetition was purposeful and not an editing mistake even after his explanation. See more »

Goofs

After the butler trips in the dining room, the lady of the house follows him into the kitchen. While they speak the boom mic can clearly be seen at the bottom of the screen, extending out from under a table. See more »

Quotes

Carlos Conde; Doctor: [Seeing a box of drugs] You kept that here?
Edmundo Nobile: Every now and then we used to meet in this room - just friends - passing unforgetable hours together.
Carlos Conde; Doctor: Why didn't you show it to me?
Edmundo Nobile: I was frightened that the world would find out about it.
Carlos Conde; Doctor: What was used for pleasure can now be used to relieve pain.
See more »

Connections

Edited into Histoire(s) du cinéma: Le contrôle de l'univers (1999) See more »

Soundtracks

Sonata No. 6
(uncredited)
Music by Pietro Domenico Paradisi
Played on piano
See more »

Frequently Asked Questions

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User Reviews

Beautifully realised, with moments of surrealism that both amuse and bemuse
9 April 2012 | by (United Kingdom) – See all my reviews

'L'enfer c'est les autres' (Hell is other people), wrote the French existentialist philosopher, Jean-Paul Sartre, in his play, 'No Exit' (sometimes referred to - and has been performed - as 'In Camera'), that surmised the narrative of three deceased individuals locked in a room, one that they eventually realise they will be spending eternity together in. Luis Bunuel used this simple meta-narrative concept of people trapped, to create one of his finest satires, and his first explicitly surrealist film since L'Age D'Or (1930). After Bunuel's previous film, Viridiana (1961), was condemned by the Vatican and banned in his native country of Spain (and where it was made), he moved back to Mexico where he had been making films throughout the 1940's and 50's, and produced a scabrous attack on General Francisco Franco's Spanish fascist dictatorship, and the institutions, and bourgeois facets of the country that were founded on the destruction of the poor and the proletariat, during the civil war that ended in 1939.

Whilst the film works as political allegory, on a base narrative level, it functions as an irrational comedy; or farce. The guests arrive for a lavish dinner, but as they arrive, the maids leave, and progressively all the hired help leave them. Once dinner is complete, the guests congregate in the living room, but they all begin to realise that they are unable to leave the room at all. When this is discovered we observe that they attempt to go, but are either distracted or simply stop or break down at the boundary of the room. This continues through days, possibly months - the characters concept of time completely obliterated. The group falls into decay, primitive urges overwhelm them, and as this representation of Western Civilisation breaks down, the group become brutally savage, turning on the host of the dinner, demanding sacrifice. The group slaughter the lambs that were originally to be used in a dinner prank.

At first the guests seem to simply ignore what is happening to them, and continue with inane chat. Exterior to the "party", the grounds are surrounded, but not even the police are able to enter, given the same mysterious barrier that prevents entry. It's almost a perfect parable, illustrating the ignorance of the Spanish bourgeoisie, as they strip the rights and dignity of the proletariat (here the maids leave on their arrival), whilst divorcing their minds from the violence and corruption of a dictatorship. But with this, it also shows how even the "civilised" sections of society, once they are stripped of their social status, their inherited manners of "education", and their ability to use wealth, the fall into absolute decay, probably falling apart greater than the lower classes, with their lessened moral outlook, and an almost infantile inability to deal with regular obstacles.

Winner of the 1962 Palme d'Or at the Cannes film festival, this was to begin what become (rather belatedly for the 62 year old) his most productive, celebrated and interesting period of his career, based in Paris, beginning with Belle de Jour (1967) and ending with That Obscure Object of Desire (1977). This is the period that he developed and expanded his own style, and his unique vision on film. The Exterminating Angel has also given inspiration for others. It is a clear influence on Jean-Luc Godard's wonderfully bleak and satiric depiction of the bourgeoisie and the end of Western Civilisation, Week End (1967). The idea was also utilised in one sketch from Monty Python's Meaning of Life (1983), that saw the guests leaving as ghosts. This is by far, one of his greatest achievements, beautifully realised, with comic touches, and moments of surrealism that both bemuse and amuse.

www.the-wrath-of-blog.blogspot.com


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