1. Francoist ideologies and how they relate to Spanish Cinema
Daniel Potes
2/26/2013
To understand the power of Spanish Cinema one must first understand the obstacles and challenges that had to be
overcome in order to even create cinema at the time. In a Franco ruled Spain censorship and Francoist propaganda ruled
with an iron fist. To the dismay of such directors as Bunuel and Juan Bardem the films that weren't outright banned from
Spain were often harshly censored and even forcefully dubbed over. This propaganda-esque time period gave birth to some
powerful films, but more importantly gave way for a hidden method of subversion hidden in Bunuel's films. This subversion
of Francoist ideology is very appertain in many of the most famous Spanish directors, Bunuel being the key one.
The explosion of the car in the first 5 minutes of the film really help exemplify the subversion of ideology going on
at during this time. By having the bomb go off so near the main character and so blatant during the middle of the day
Bunuel is referring to the state of affairs with the Basque opposition. The time after Franco's death was a tough one for
Spain, with the supremely nationalistic Francoist groups splitting into factions and arguing for power. During this time the
dominating power was being subjugated by so many different parties and rebellious groups that there was no chance for it to
remain much longer.
Fabert represents the upper class that still clings to the Franco Regime's and is unnerved when the bomb goes off.
The continued feeling of disrespect towards rebellious causes and the lower class in general is showcased well in the train
scene in which his servant/chauffeur goes into the lower class cabin and helps the pregnant woman down only to be pushed
roughly aside by police in a hurry. The shot in the train that I believe captures his feeling so eloquently is when he takes the
bucket of water and pours it on Conchita. This act of “drowning” the opposition was one that was felt strongly through the
remaining Francoist forces, however, this “drowning” lead to an invigoration of rebellious terrorist actions and opposing
ideologies.
Bunuel does a wonderful job of peaking both the viewer and the other passengers curiosity with the pouring of the
water. In a very Bunuel move, the scene switches into a flashback of how he met our lovely friend Conchita. While eating
breakfast with his cousin, Fabert talks about the “ideals” of the terrorist groups that have bothered the power holders. This
talk of respecting the terrorist group for their “ideals” is in itself a subversion of ideology. This scene is reminiscent of the
opening shot of Le Charme Discret de la Bourgeoisie, both have a sort of nonchalance about things that would harshly
affect most people, the group sits down to eat and are interrupted by a funeral, instead of reacting with apology and disgust,

2. the men don't even react and the women have a fake reaction bred into them by lady like reactions.
A second layer of Fabert lies in his distrust of the police and authority above his. Not only is this mistrust shown in
Bunuel's Obscure object of desire, but the theme of mistrust in police/authority is a reoccurring one. Even when robbed at
knife point Fabert will refuse to ask the police officer for help. This coincides well with the inter textual references to fear
of authority that Bunuel places throughout his films. In this way I believe that Bunuel is trying to hint that people like the
robbers are somewhat important in the grand scheme of political subversion.
Fabert's interest in his servant/terrorist Conchita is a showcase of sexual subversion. By using a strong female
character to lead Fabert in, Bunuel is alluding to the power of Film Noir's femme fatale, much like films such as The Big
Sleep or The Maltese Falcon use the same technique to subjugate the male authority. This can be best displayed in the
scene where Fabert first arrives at Conchita's home his power is based almost exclusively on his maleness and his wealth.
By entering her apartment he agrees to surrender himself to her strong sexual gaze. Her oozing sexuality acts a buffer for his
male dominance, for a moment he is in her graces, he is hers to do with as she pleases, the male power is lost while he
holds the gaze of Conchita. For a brief moment his power is returned with the account of money being brought up, but this
purely monetary control over the situation ends as quickly as it began and leaves him captive to her gaze once again. This
subversion of male identity even if only momentary is by far my favorite example of ideological subversion.
The pinnacle of male ideological subversion, or in Bunuel's deeper meaning, the subversion of Francoist patriarchal
ideology, come in the bedroom of Fabert's house. With Conchita finally deciding to become his mistress and live with him
and share his room with him Fabert finally believes that his aching wait of sexual tension is at an end. Conchita, however,
being the subversive femme fatale she is, will not let his tension ease. The scene that to me exemplifies both the idiocy of
Francoist culture and the power of desired objects. By refusing to be used as an object for his release, Conchita places
herself over him in both power and ideological pureness. When Fabert asks if she's “afraid of a little sin” she response
truthfully, she isn't afraid, rather she knows her own power well enough to use it forcefully and with powerful
repercussions.
Fabert's statement in the restaurant is the pinnacle of the ideology that Bunuel is trying to subvert. “I want to
possess her, naturally” This possession refers both to his possession of her and her sexuality but most importantly it refers to
Franco's possession of the heart, the soul and the power of Spain's nationality. Without the ability to be free, Spain is
doomed to be a Conchita and to use it's beauty, it's national pride against it's possessor.
The final subversion of Ideology that will conclude my paper is that of the switching of the women. This powerful
method of subverting his very idea of the woman he loves/is sexually drawn to reaches it's powerful close in the amazing

3. ending. With the switching of women followed by the explosion Bunuel is stylizing the multifaceted personality of both
Spain and the power of the Femme Fatale. Exploring the ideological meanings of the two women is something I had a blast
doing. I recognized the more Spanish looking Conchita as the Basque based rebellions and the European looking woman as
the European nations in general reacting to both the falseness of Franco Spain but also fighting against the subversion of the
free people of Spain. By subverting that which subverts Bunuel attempts to showcase the problems that were found
throughout Franco controlled Spain and that continued even after he died.