Luis Buñuel and Salvador Dali, “Un Chien Andalou” (1929)
Famous surrealist film that never fails to shock and surprise despite having been made over 80 years, “Un Chien Andalou” is that special once-in-a-lifetime what-the-fuck-did-I-just-see?! picture that you must treat yourself to, to say that you have truly lived. No plot or narrative to speak of, this is a series of scenes mostly unrelated to one another except by a dream logic in which Freudian free association of dream images determines what happens next after each scene. No point in looking for hidden messages then: but there are messages a-plenty in the objects that appear throughout the film, many of which represent ideas and themes that were to recur in Buñuel’s films throughout his career.
The short memorably opens with a scene in which a man (Buñuel himself), mesmerised by the full moon, prepares a razor and cuts into the eyeball of a young woman (Simone Mareuil) who sits calmly on a chair. The film cuts abruptly in time and space to a man (Pierre Batcheff) dressed in nun’s clothing with a box around his waist riding a bicycle and coming to grief on the road; the young woman we met earlier sees him from her apartment window and rushes to help him. There then follows a series of scenes in which it’s not clear whether Batcheff is playing one man or two men or even two cloned representations of the same man with perhaps one of them being the real thing and the other something imagined by Mareuil’s character. Batcheff studies his hand from which ants crawl out of a hole, attempts to seduce Mareuil whom he imagines in various stages of undress and manages to haul out from nowhere in particular in the apartment two grand pianos with animal carcasses draped over them and two dazed padres (Jaime Miravitilles and Salvador Dali) attached to the lot with ropes.
The film jumps around in the temporal dimensions – we go back in time, forwards in time, whatever – and spatially as well: “narrative” flow moves from the apartment to meadows without an intervening transition from urban to suburban to rural landscapes; and Mareuil steps out from the apartment straight into a beach scene. Books turn into guns, moths carry grinning skulls on their backs and if someone’s mouth disappears, be careful not to apply too much lipstick to your own mouth or your smelly armpit hair ends up on the other person’s face.
There’s probably a vague over-riding theme about human relationships and the ritual of courtship and many visual ideas in the film were to recur in later Buñuel films: bashing priests and religion generally, fetishism, lust and desire, rebellion, to name some. Everything is played straight and matter-of-fact and this is an unexpected paradox for a film about dreams and free associations of ideas and visual images. The shock value may have disappeared but the film’s playful and cheeky manipulation of narrative, plot and montage still threaten a major rearrangement of one’s brain cells with every viewing.