Un Chien Andalou (An Andalusian Dog) is a surrealistic film created in 1928. It was written by two young, largely unknown men, Salvador Dali and Luis Bunuel, and directed by the latter. Of course, both these guys got plenty more than their fifteen minutes of fame...
Chien was Bunuel's first film. The movie was not intended to make any sense, and the title (Especially considering that there is not a single dog in the movie) illustrates this perfectly.
The film is based on dreams the two men had had - Bunuel told Dali that he dreamt he saw a moon being sliced in two by the cloud
s. Dali wondered if it was like a razor cutting through an eyeball. Which got the story running. They tried to invent shocking scenario
s, and included them into the film (very much like the video
to Nine inch Nails
, come to think of it).
The film - about 10 minutes in length - remains one of the most famous short films in the history of cinematography.
About the film
The film is highly confusing, filled with all kinds of symbolism that I personally can't make an awful lot of sense of. The first shot of the film is somebody slicing somebody else's eyeball
with a razorblade
*, and this is pretty much the tone of the film. Sections of seemingly unrelated actions - ant
s walking out of a man's hand, a sexual assault
, a guy dragging two grand pianos with donkey
s and priest
s on it, and hands laying around in the street. Very, very bizarre
*) This was of course not a real human eye, but rather the eye of a calf :-) Still gets quite a response from most people who watch the film, though.
Bunuel had on several occasions laugh
ed at people trying to link the clip
s, and at one point said something to the effect that the analyst's behaviour is a parallel to human behaviour
; looking for things that aren't there.
This applies both for the individual scene
s, but also for the scenes themselves: where the sexual assailant
, and afterwards starts pulling the grand pianos along; people
would normally assume that these two actions would have to have a connection
. Bunuel, however, claims this is not important, and that action
s should be seen as individual actions.
In the 1960s, music
was added to the film, taken from Tristan and Isolde
by Richard Wagner
. The music was added because Luis Bunuel
thought that the film needed some aural inspiration as well. Strangely enough, the music fits the film very well.
and Pierre Batchef
Pictures from the film!
At this address, you can find pictures of all the keyframes in the film, and get a good idea of its action. You will still want to see the film though :)