DIRECTED BY: Luis Buñuel
FEATURING: Fernando Rey, Paul Frankeur, Delphine Seyrig, Bulle Ogier, Stéphane Audran, Jean-Pierre Cassel
PLOT: Six friends attempt to have dinner together, but repeatedly fail for increasingly bizarre reasons.
WHY IT SHOULD MAKE THE LIST: A plot so simple it’s barely a plot at all starts out small and, through masterly use of the running gag, steadily builds throughout the film, getting more and more absurd until the apocalyptic finale. And if that’s not enough, there are numerous dream-sequences, sometimes nested inside one another, and not always clearly distinguishable from reality. Also, undead policemen!
COMMENTS: Leaving aside Un Chien Andalou, which will forever be in a class of its own, Discreet Charm might just be Buñuel’s masterpiece. The Academy Awards Committee certainly thought so when they gave it the Oscar for Best Foreign Language Film in 1973. No close-ups of razor-slashed eyeballs this time; this is a nice, gentle, middle-of-the-road crowd-pleaser. Except that that description would be as misleading as taking the title literally. It’s true that there are no pianos full of dead donkeys, but we do get an electrified piano used as an instrument of torture, from which cockroaches stream as the convulsions of the screaming victim create impromptu musique concréte-–an act for which the policeman responsible is first murdered by outraged student radicals (offscreen), and then condemned to return as a gory apparition (onscreen) every Bloody Sergeant’s Day (June 14th, if you’re thinking of throwing a party). There’s definitely something unusual going on here!
So unusual that “whose subconscious are we in now?” is a very pertinent question, 38 years before it was asked in Inception. One particularly bizarre scene turns out to be only a dream, and the action picks up where it left off. But then it turns out that this too is a dream, and the character who dreamed the first dream is not only still dreaming, but dreaming that he’s somebody else! Confused yet? The visibly nervous professional movie critic in the useless featurette on the Region 2 DVD clearly was. He correctly points out that this is a dream within a dream. Not so tricky, since the film explicitly says so. What he seems to have missed is that the dream-within-a-dream is probably a continuation of the previous scene, in which implausible events take place, and characters who don’t appear in the rest of the movie behave very oddly. One of them entertains the assembled company by recounting a dream about his dead mother, which we see. So what he have here is almost certainly a dream within a dream within a dream…
Then again, other incredibly strange things occur which aren’t dreams at all. Or are they? There isn’t any sure way to decide which parts of this film are “real”, and ultimately it doesn’t matter: it’s fiction, so none of it’s real. Still, there’s obviously some strange kind of logic holding it all together, even if we aren’t told what it is. This is why, like David Lynch, Luis Buñuel belongs on the A-list of weird film-makers. Throwing the rules out of the window is enough to make a movie “weird” in the sense of weird-for-the-sake-of-weird, but to reach the next level, you need to replace what you threw out with something else. Buñuel understood this perfectly, and plays with it all the way through the film. A very distinctive object features in what turns out to be a dream, yet reappears in the scene that follows: a subtle clue that we’re still in the dream (there’s absolutely no way Christopher Nolan wasn’t taking notes here). But another dream seems to be genuinely prophetic. And so on: a tangled web indeed!
Almost every joke follows the pattern of the main plot by starting off quite tamely, but turning out to have at least one more layer. The initial appearance of a saintly bishop results in his mild humiliation and all-round embarrassment, due to a silly and quickly resolved misunderstanding that wouldn’t be out of place in a Seventies sitcom. But just when you think Buñuel’s attitude to the church has mellowed with age, it turns out that the unsuspecting monsignor is being set up for a punchline which, when we finally get to it, is as dark as they come.
This film is not weird in the sense that watching it is an endurance test. This is mainstream weirdness with excellent production values. But don’t let that fool you: every single thing that happens here is as off-kilter as the attitudes of the main characters, who honestly believe that the lower classes are subhuman because they don’t know the correct way to drink a dry martini. Discreet Charm may or may not make the List, but it’s definitely on mine.
“Buñuel seems to have finally done away with plot and dedicated himself to filmmaking on the level of pure personal fantasy… We are all so accustomed to following the narrative threads in a movie that we want to make a movie make ‘sense,’ even if it doesn’t. But the greatest directors can carry us along breathlessly on the wings of their own imaginations, so that we don’t ask questions; we simply have an experience.”–Roger Ebert, Great Movies
and Steven Shneider’s “
.” The movie divided contemporary critics and audiences, as well.
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