Opening with the celebrated 'cutting of the eye' sequence (above), an image so famous it's been parodied in everything from The Simpsons to Mr Oizo's Lambs Anger album cover, Un Chien Andalou stands as the most famous example of the avant-garde movement of 1920s French surrealism. Described by it's director as meaning nothing, suggesting the only "method of investigation of (the film's) symbols would be, perhaps, psychoanalysis", the film follows a narrative whose logic can only be described as 'dreamlike', jumping skittishly from time frame-to-time frame with no inherent logic behind the need to shift phase so dramatically.
Silent films reliance on imagery as the primary narrative structure means that many of cinema's great images stem from the need for the directors of the time to master montage and form to best present their intended imagery (Sergei Eisenstein being a particularly notable purveyor of this skill). As such, the sensibilities of Dali merged with the directorial skill of Bunuel, who was directing his first picture after working as assistant to Jean Epstien, amongst others, to create a haunting evocation of dream-scape surrealism. Born from a discussion between Spanish director Luis Bunuel and surrealist artist Salvador Dali regarding the nature of dreams, the script was written as an attempt to capture the nature of suppressed human emotions. From a hole in the hand crawling with ants to two characters buried up their shoulders in sand, the range of imagery in the film is quite startling, shifting from nightmarish to bizarre and offer no explanation other than that which the viewer themselves place upon it. The film contains five characters, nominally described as 'the husband', 'the wife', 'the lover', 'the detective' and 'the father', but none is imbued with any particular character nor are we presented with any particular motivation for their actions, instead we are presented with a barrage of imagery with no meaning other than for the viewer to question there own reaction to it.
Surrealism was unpopular amongst the French populous at the time and both Bunuel and Dali attended the film's premiere with rocks hidden in their pockets, wary of any potential backlash from those in attendance and were disappointed to find the film embraced by the public. I myself have some disdain for surrealism and whilst I found myself intrigued by the nature of the imagery I was ultimately left hollow by the experience of watching the film. There is certainly memorable imagery contained within the piece and, therefore, it has achieved its aims, but, unlike, say, Eisenstein's Battleship Potemkin (1925) which is as vital as a piece of entertainment as it is a cinematic landmark, Un Chien Andalou is, to my mind, more notable for its legacy than content. However, it is important to note that such an opinion is probably more down to my own limitations and bias regarding surrealism as it is limitations within the film itself.
Silent films reliance on imagery as the primary narrative structure means that many of cinema's great images stem from the need for the directors of the time to master montage and form to best present their intended imagery (Sergei Eisenstein being a particularly notable purveyor of this skill). As such, the sensibilities of Dali merged with the directorial skill of Bunuel, who was directing his first picture after working as assistant to Jean Epstien, amongst others, to create a haunting evocation of dream-scape surrealism. Born from a discussion between Spanish director Luis Bunuel and surrealist artist Salvador Dali regarding the nature of dreams, the script was written as an attempt to capture the nature of suppressed human emotions. From a hole in the hand crawling with ants to two characters buried up their shoulders in sand, the range of imagery in the film is quite startling, shifting from nightmarish to bizarre and offer no explanation other than that which the viewer themselves place upon it. The film contains five characters, nominally described as 'the husband', 'the wife', 'the lover', 'the detective' and 'the father', but none is imbued with any particular character nor are we presented with any particular motivation for their actions, instead we are presented with a barrage of imagery with no meaning other than for the viewer to question there own reaction to it.
Surrealism was unpopular amongst the French populous at the time and both Bunuel and Dali attended the film's premiere with rocks hidden in their pockets, wary of any potential backlash from those in attendance and were disappointed to find the film embraced by the public. I myself have some disdain for surrealism and whilst I found myself intrigued by the nature of the imagery I was ultimately left hollow by the experience of watching the film. There is certainly memorable imagery contained within the piece and, therefore, it has achieved its aims, but, unlike, say, Eisenstein's Battleship Potemkin (1925) which is as vital as a piece of entertainment as it is a cinematic landmark, Un Chien Andalou is, to my mind, more notable for its legacy than content. However, it is important to note that such an opinion is probably more down to my own limitations and bias regarding surrealism as it is limitations within the film itself.
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