Metropolitan (1990)
Charlie Black: The term 'bourgeois' has almost always been - been one of contempt. Yet it is precisely the - the bourgeoisie which is responsible for - well, for nearly everything good that has happened in our civilization over the past four centuries. You know the French film, The Discreet Charm of the Bourgeoisie? When I first heard that title I thought, "Finally, someone's gonna tell the truth about the bourgeoisie." What a disappointment. It would be hard to imagine a less fair or accurate portrait.
Sally Fowler: Well, of course. Buñuel's a surrealist. Despising the bourgeoisie is part of their credo.
Nick Smith: Where do they get off?
Charlie Black: But the truth is, the bourgeoisie does have a lot of charm.
Nick Smith: Of course it does. The surrealists were just a lot of social climbers.
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When discussing the case of those born into wealth, people will sometimes take it upon themselves to remind me that no one chooses their parents!!!
Well, duh.
No shit, Sherlock. I struggle to see how that fact disqualifies critique or observation, especially when those born with a silver spoon insist on living public lives, on being Known. Some things are choices.
This intersection of auspicious neediness continues to fascinate me —how it evolves over time, finding new ways to shake off its shame. The consistent inability to reach contentment or gratefulness, just black holes of throbbing dissatisfaction, the bourgeois makes himself adjacent to anything with significance or meaning, anywhere with spectators.
Trying on all the outfits.
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