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Un chien andalou 1929
Description: Un Chien Andalou is a classic European avant-garde surrealist movie from the cooperation of director Luis Buñuel and Salvador Dali. The movie changed the method folks made movies. Most popular is the stage of a woman’s eye being slash with a knife.
Released: 06 Jun 1929 Director: Luis Buñuel Writers: Salvador Dalí (scenario), Luis Buñuel (scenario) Actors: Simone Mareuil, Pierre Batcheff Genres: Short, Fantasy, Horror
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Un chien andalou Reviews:

Nice method to sample the filmography of Luis Bunuel is to start with this surreal short. An perfect intro to Bunuel's more mature work because his movies are full of bizarre photos that began here. Un Chien Andalou(1929) like the rest of Bunuel's early works experiments with test of movie photo and surrealism. Illustrates the beginning of a career full of amazing, bizarre, and subversive films. Things should only receive better for Bunuel's movie career and they did. Un Chien Andalou(1929) was an artful collaboration between two surrealistic masters in Luis Bunuel and Salvador Dali. These two artists were part of a surrealism movement in Spain that influenced the country's art. Bunuel and Dali had a fruitful but short movie partnership that ended once every wanted to go their separate ways. After the early 1930s these talented artists would never work with every another again. For Un Chien Andalou(1929), Bunuel and Dali created photos of eccentric force based on their day and night dreams. Surrealism was very famous in early 20th Century art especially during the 1920s. The surrealist movement took shape in territories like France and Spain where it flourished for a period of time before falling apart in 1930s. Un Chien Andalou(1929) is a nice example of what made the surrealist movement tick. Salvador Dali designs photos with social and symbolic meanings. Bunuel's skills as a surrealist as first shown here would become more abstract once he started mastering his craft. Plotless short movie that is basically a series of images. Un Chien Andalou(1929) is an 'Absolute Film' which relies on abstract imagery in an attempt to unnerve the viewer. In Bunuel's early films, imagery took precedent over things like dialogue and plot. In the history of cinema its a rarity especially since the beginning of the sound era for pure imagery to be the sole existence in a motion picture. Un Chien Andalou(1929) includes photos that ranges from the erotic, frightening, funny, strange, and symbolic. Bunuel's direction for Un Chien Andalou(1929) is very nice considering its his first piece of cinematic work as a movie director. He uses the same kind of dreamlike logic here that prevails in his greatest films. He directs every photo with endless imagination. Direction for Un Chien Andalou(1929) may be crude a tiny unsophisticated but its still fascinating to observe. Luis Bunuel first place his name among the cinematic ranks with the historical important, Un Chien Andalou(1929). Forever immortalized on celluloid is the eye slicing photo of Un Chien Andalou(1929). Cinema's fascination with eye motif probably began here and continued from then on. The destruction of sight is an necessary them in Un Chien Andalou(1929) and another cinematic works. Jean Vigo remarked in opinion of eye slicing image, "Is it more dreadful than the Spectacle of a cloud veiling a full moon"? Eye slicing photo was influential to Italian horror espically to the movies of Lucio Fulci and Mario Bava(the former did an modernized ver of photo with eye penetration moment from Zombie Flesh Eaters[1979]). Caused an enormous scandal in the late 1920s with depiction of disturbing and outright strange imagery. I can picture the reaction of disgust and shock on audiences faces as they watch tongue tied at the photos that bombard their senses. Un Chien Andalou(1929) may have lost a tiny of its shock power by today's standards. Still this short movie continues to retain the ability to dare which is an improbability in today's Hollywood cinema. Luis Bunuel's next film, L'Age D'Or(1930) caused an even bigger scandal and riots broke out during the film's opening show. Not much in the method of substancial acting in a movie where characters exist only as impulses and symbols. One of the most necessary pieces of movie during first half of 20th Century cinema. Showed filmmakers that the power to provoke is as necessary as acting, cinemtography, dialogue, and plot. Un Chien Andalou I think is a forethought to the daring and subversive movies of period covering 1967 to 1977. Un Chien Andalou(1929) I feel is the near last of a group of movies concerned with movie imagery that occupied the silent movie category for twenty plus years. A motion picture ahead of its time in more methods than one. One reason its ahead of its time is the photo of a woman's bare naked breasts being touched by male hands. Photo such as one mentioned above was unusual for the period the movie was made. Also, there are a couple of photos in the movie that are on the slightly gory side. Obviously done by a young Bunuel who was more sexually launch minded than the older boy who though an on screen kiss was obscene. Bunuel's fetishes and Obsessions that occupied the photos of Un Chien Andalou becomes maturely developed in soon films. Couple of motifs from Un Chien Andalou shows up in movies like Simon del Desierto(1965). Dreamlike imagery of short frequents the stories of El Angel Exterminador(1962) and Belle De Jour(1967). Its a warmup to Bunuel's next film, L'Age D'Or(1930) which is also his first detail length film. Un Chien Andalou(1929) is an exercise in artistic expression and artistic vision by an artistic genius.


"Sitting comfortably in a dark room, dazzled by the light and the movement which exert a quasi-hypnotic power... fascinated by the interest of human faces and the rapid changes of place, [a] cultivated individual placidly accepts the most appalling themes...and all this naturally sanctioned by habitual morality, government, and international censorship, religion, dominated by nice taste and enlivened by white humor and another prosaic imperatives of reality." - Luis BunuelUn Chien Andalou exists to shock the viewer of this stupor that Bunuel elucidates above. Freudian dream imagery, amorphous space/time, and absurdist humor combine in this drawn out mating ritual between a confused cyclist and the female he pursues. May be the most inventive fifteen mins of movie anywhere.


I still remember my visit to Philadelphia Museum of Art, back in the April of 2005. One of the reasons I went there was to to see the Salvador Dali's exhibitions but the tickets were sold out. While in the museum, I was able to see two movies that Dali was a large part of. In the video Gallery of the museum, two intriguing projects have been running together in the continuous loop, the early "Un Chien Andalou" (17 minutes) and the recently released, animated Destino (6 minutes). This was the first viewing for me. I kept coming back to the gallery several more times and I never was tired of both short films.The inspiration for "Un Chien Andalou" began with the dreams of two young rebellious men, the artists and the friends, Luis Bunuel and Salvador Dali. They exchanged the dreams they both had, Bunuel - about a slender cloud slicing the moon in half "like a razor blade slicing through an eye", and Dali - about a dream involving a hand enveloped by ants. Both artists later began working on a movie script based on these ideas.Made in 1929, the movie has not aged at all. Its disconnected but haunting scenes and photos are as shocking today (at least, for me they were) as I am sure they were all these years ago for the viewers who faced them for the first time. The reason the movie is so strong even actually may be the themes of love, sex, death, and decay that are eternal and will everytime attract the artists and audiences alike. It is also should be in the establishing and following by both artists the certain rules, "No concept or photo that might lend itself to a rational explanation of any type will be accepted...We had to launch all doors to the irrational and hold only those photos that surprised us without trying to explain why." Perhaps, Dali and Bunuel intended their movie to be experienced directly, on the visceral level, and not analyzed by the viewers.



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