The film exists in a world engulfed in utter chaos. What emotion do we see existing in such a pandemonium, in both lust and anguish, in such a bipolar display? Nothing brings more sadism and masochism than the cruel chase and anarchic desire. Such a place of chaos brings along a sense of obscurity, for one cannot discern the outcome or even the general here and now of desire at times. Although desire itself is obscure, in the story the object of this longing is Conchita. She represents such a key and central source of chaos and emotional destruction. Why not drench her existence in obscurity?
In several scenes she expresses undying love for Mateo, yet in other’s she rebukes him for seeking the fruits of that love. She vanishes and reappears throughout the movie and expresses such a mercurial mood that it is amazing that Buñuel even understands her psyche, if he even does at all.
This disorder and entropy paint characters perfect for the world of this movie, the constant stream of terrorism and conflict fit Conchita’s intentions and actions. What is she committing if not emotional terrorism? She manipulates Mateo’s mind into a cluster of stress and volatile emotion to extract what she needs from him and creates a constant cycle of self-deficient emotional terrorism.
Buñuel utilizes two actresses to portray the role of Conchita. I believe he does so to illustrate the muddled and at time bipolar mind of Conchita. An overtone of chaos always seems to follow her emotions. Deeper so we can also see this representing more sexual and warm side of Conchita and the perhaps colder yet more in control Conchita. The Spanish woman represents the wilder and sexual part of Conchita in which m\Mateo lives to possess. The French woman represents the reserved yet gentler Conchita, obscured more so by he quiet seduction; the first Conchita that sparked his attraction.
We can clearly find evident influence from Celestina in the scenes of the movie. For example the general idea of a man who lusts for a woman’s sexuality and the “decency” they have to label it love. The world generated by constant chaos parallels the underground world supporting Celestina’s environment.
The final moments of the film, the concluding scene express beautifully the overall doomed relationship of the “lovers.” The radio spewing news of the “far-left” and “far-right,” most likely expressing the two volatile sides of Conchita, while the couple watch diligently the seamstress mend a bloodied and torn cloth. The rending and bloodied aspect of this item can represent the undeniable outcome of the hapless relationship while the seamstress constantly attempts to keep the breaking seams together. Naturally the scene erupts into Conchita rebuking Mateo’s attitude, and the chaos and disorder of this world finds a fitting end in nothing else but a terrorist driven explosion; ringing loudly the dooming fate of desire and the relationship of Mateo and Conchita to nothing but destruction and suffering.
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