Samuel Beckett’s Waiting for Godot is a “play in which nothing happens, twice,” in Vivian Mercier’s bon mot. Less known to English-speaking audiences is another work in which nothing happens twice, namely Luis Buñuel’s 1962 film, The Exterminating Angel. The great Spanish auteur attacked the subject as surrealist social farce rather than as Existentialist absurdity, as with Beckett. Buñuel’s nihilism makes no pretense at portraying the human condition in general. It is as distinctively Spanish as Gilbert and Sullivan are distinctively British, which explains why Spanish theater troupes do not perform HMS Pinafore and American audiences largely ignored The Exterminating Angel. As a narrative of cultural suicide, though, it has no peer in postwar art.
Buñuel was a lifelong Communist and concluded his film with a revolutionary statement. But he brought to the screen a profoundly biblical sensibility, most of all in the matter of retribution. The film’s title may be a reference to the 19th-century Spanish Society of the Exterminating Angel, a death squad that hunted Spanish liberals. But it is more immediately a citation of I Chronicles 21:15, “And God sent an angel unto Jerusalem to destroy it” after King David ordered a census in contravention of biblical law. The subject of the film is divine vengeance against a corrupt elite that is incapable of extricating itself from its torpor.
The British composer Thomas Adès, the son of Syrian-Jewish immigrants to the United Kingdom, debuted an operatic adaption of Buñuel’s Angel at the Salzburg Festival last year. The Metropolitan Opera features it prominently in its fall season. With a few telling exceptions, Adès and his librettist, Tom Cairns, stick close to Buñuel’s screenplay. Their endeavor raises a question: How do you write music about nothing? The question is not as silly as it sounds. Adès solves it by injecting extraneous material into the comedy, which supports the music but disturbs the joke.
Adès has no limitations as a composer, by which I mean that he has a sure grip on the whole battery of compositional styles and musical devices. He can do with a score whatever he thinks best, and his use of tonal devices, as well as atonal gestures and sound effects, is canny and deliberate. The question is whether he has provided Buñuel’s comedy with the music it requires. The film has no score at all; the only music is performed by one of the characters in the course of the action.
In the film, guests arrive for dinner at a Mexico City mansion (on “Providence Street”), and find that they cannot leave the living room. The servants have had a strange compulsion to flee. There is no explanation for their paralysis of will. They do not understand it themselves. Days go by, and the aristocratic company begins to stink and starve. They obtain water by breaking open a pipe in the wall and food by butchering a pet lamb. A crowd gathers outside but cannot enter, either. The entrapped guests descend by turns into madness and violence, until one of them observes that they have returned by random motion to the precise positions they occupied just before the spell descended on them. They repeat verbatim the party banter that preceded their imprisonment, and the survivors stumble out of their hell.
The host promises to sponsor a solemn mass if the group escapes, but the partygoers’ Christianity cracks and peels under stress. One lady in the party, who carries chicken feet in her purse, applies practical Kabbalah without success; it is not clear whether she is meant to be a covert Jew or just dotty. Chicken feet pertain to voodoo, not Kabbalah. A Freemason in the group shouts “Adonai!” a masonic call for help, but no one appears.
Repetition, it turns out, is not the counter-spell, but a nasty divine joke. Buñuel warns us that something is awry by repeating the entrance of the guests into the mansion. The master of the house offers a toast to the prima donna of the opera they have just heard. He starts to repeat the scene, but this time the partygoers ignore him, as Buñuel winks to the audience.
After stumbling out of the house, the partygoers appear shortly afterward for a Mass of thanks-giving, but this time no one is able to leave the church. The priests halt at the exit and the parishioners mill about unable to pass the threshold. In case we were unclear about what Buñuel had in mind, the last scene shows machine guns firing at an uprising outside the church, and a herd of sheep entering the church. The relevant repetition was not the reenactment of the banal events that preceded the guests’ entrapment, but rather the repetition of the entrapment itself, this time in the church. Nothing has happened twice. These are people who are doomed to repeat themselves. That is why they are trapped.