"An Andalusian Dog" is director Luis Buñuel's debut film, which is still an outstanding representative of surrealist films to this day. The chaotic script http://baike.baidu.com/view/781755.htm I
saw on the Internet by accident is so confusing that it is simply outrageous. Whether it is a cut eye, a bloody broken hand, or an ant crawling out of the palm, it seems that it should be a classic scene of a horror movie, but in this movie with almost no sense of logic at all, it can only make people feel I feel an unreasonable absurdity. Plus this 15-minute black-and-white short film should still be born in the silent era, with just the same ridiculous music that doesn't fit with the picture (it's almost a Chaplin movie in terms of the soundtrack). It is said that Picasso was also invited to watch it on the day of the release, and it caused a sensation at the time. It was indeed a feast for surrealist lunatics. It seems a little out of place to watch such a film in the fresh morning after such a morning run. But despite the chaos, it can still be said to be an "interesting" movie. After all, the so-called "outstanding masterpiece of surrealist film" is not nonsense. When I watch films, I mainly value the word "interesting". Although my current wisdom is obviously far from being able to understand the profound meaning contained in those absurd scenes (the ghost knows whether there is or not), I still catch a glimpse of some glittering brilliance.
In fact, it seems to me that the surreal can almost be understood as our chaotic dreams. Equally illogical, equally full of cryptic connections, equally chaotic jumping images, absolutely equally grounded in but beyond reality. Perhaps the director just consolidated his fragmented dreams into a film to materialize them. "An Andalusian Dog" is criticized as a promiscuous spring dream of the two protagonists, which is actually quite reasonable. But it's really hard to say whether there are more male protagonists or more female protagonists. The heroine lays the hero's clothes on the bed like a fetish. The hero sees the hermaphrodite on the street being run over by a car, and then suddenly sexually erupts and violates the heroine. There is also a close-up of stroking her breasts and finally the hero dies The naked woman who reached out her hand to grab at that moment, the sexual suggestion is quite not taboo in this film. The surrealists are not afraid of the Radio and Television Bureau. At the end of the 15 minutes like a spring dream, two withered and corroded bodies were half buried in the sand, and the words "spring" appeared on the picture of the gray sky. Could it be that you want to sing about love that will last forever? Damn, I really don't see if these two have feelings for each other. Besides, isn't the main character dead? Or was killed by another self with double guns, and fell on the grass full of flowers. But since it is a chaotic spring dream, this logical loophole is naturally no need to worry about it. It's just that if I put it in my dream, I will definitely let the female protagonist cut off the ant hand caught by the door, give it to another male protagonist, and then throw it on the street and be picked up by the intersex, so that it can be replaced. The poor headless logical circle draws a circle no less than 360 degrees.
Here is a just-found interview that reveals the truth of the sin:
Tomas Perez Turrent: How did the project Un chien andalou come about in the first place?
LUIS Bunuel: I became very interested in film in 1927 or 1928. I put together a night of avant-garde films in Madrid, showing Rien que les heures by Cavalcanti, Entr'acte by Rene Clair, and I can't remember the others. The event was a great success. Otega y Gasset called me the next day and said, "If I were young, I would devote myself to cinema." Juan Ramon Jimenez (Spanish poet, Nobel Prize winner in 1956) was also dazzled (ebloui) . This is a huge inspiration because although we are already familiar with American cinema, avant-garde cinema is unknown in Spain. Later, when I was in Figueres with Salvador Dali for the Christmas break, I proposed to do a movie with him. Dali said to me, "Last night I had a dream that ants were all over my hands." So I said, "Well, I dreamed that I cut someone's eye." We wrote it out in 6 days. script. We know each other very well and have no disputes. The way we work is to choose the images that first entered our consciousness and systematically discard whatever comes from our culture or education. They have to be pictures that amaze us both and that we both can accept without contradiction. Example: A woman grabs a racket to resist a man who tries to attack her. Then he looked around, looking for something (I'm talking to Dali now): "What did he see?" "A flying frog." "Not good!" "A bottle of brandy." "Not good!" Okay, I saw two ropes." "OK, but what's after the ropes?" "The guy pulled them and they fell off because something heavy was tied to them." "Okay, I like it He fell." "Two gourds followed by the rope." "What else?" "Two marist brothers." "And then?" "A cannon." "Not good. An extravagant armchair." "No, a grand piano." "Very good, plus a mule on top of the piano... no, two rotting donkeys." "Wonderful!" That's how things went; we It is necessary to evoke irrational pictures that cannot be explained.
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