. Close shot of two hands grinding the razor. He wears a men's watch on his left wrist.
A close-up of a man's head with his eyes down and a cigarette in his mouth (this is Bunuel himself). He blinked slightly, and we could see that this was the man who sharpened the razor. In the background, a diffuse light leaked from a window very close to him. It is necessary to mention the shirt he is wearing: it is a collarless shirt with open vertical stripes.
The balcony in the night. In front of the balcony, a man was sharpening his razor.
There is another shot of razor sharpening with both hands. Behind him is the door frame and latch of the wooden door. The man tried the razor with his thumb nail. The camera moved closer to the man's face again, and the cigarette he was smoking kept dangling from his mouth. The camera is pulled back into a lens above the man's knees. He stood in front of the door, opened the door and went out. The camera shook with him to the balcony, and he leaned on the balcony and stared at the sky.
The man stared at the sky through the glass window and saw...a cloud floating towards a full moon.
From the shot of a man's elbow on the balcony to the shot of the dark sky. However, on the left side of the screen is a bright moon, and a long and narrow cloud floats towards the moon. Pushing it into a close-up shot of the man again, he looked at the sky thoughtfully and continued to smoke.
A close shot of a girl's face. The man uses the thumb and index finger of one hand to separate the girl's left eyelid. The other hand held the razor and approached the eyeball. The man wears a shirt with vertical stripes, besides, he now wears a tie with horizontal stripes.
Then there was the girl's head, and she opened her eyes wide. The razor poked in the eyes. Floating clouds drifted past the moon at this time. The sharp razor lay across the girl's eyes and cut in.
A shot of the sky. Floating clouds floated in front of the moon, as if cutting the moon in half.
A close shot of the razor cutting across the eyes.
Go dark. Then, the subtitles appeared on the screen: "Eight years later."
panoramic. An empty street. There are tall buildings on both sides. The sun is shining.
An empty street. It's raining.
A cyclist enters the picture and walks along the street. His figure faded away.
A person wearing dark clothes and riding a bicycle enters the screen.
The camera is pushed forward slightly. The street is now empty again. The camera is pulled back to take a close-up shot of the frontal view of the cyclist. As written in the original play, he wore a white cloak over his dark clothes and wrapped his shoulders, waist, and head.
His head, shoulders and waist are wrapped in a white cloak.
The camera no longer pulls back, melts into the street, and the street is empty again. The camera pushes forward again, transforming into a cyclist. Cutting into a street with few pedestrians, three pedestrians can be seen in the distance. Overprint the back of the cyclist going down the street on the lens of the cyclist. In the double shadow lens, the cyclist's cloak appears slightly larger than in the original lens due to the special lighting.
Cut into the frontal middle shot of the cyclist. He moved towards us until he showed a close-up of a box with a black and white slanted lid. The box was tied around his neck and hung on his chest.
A rectangular box with black and white stripes tied with a belt hung on his chest. . He pedaled the bicycle mechanically, loosened the handlebars with both hands, and put them on his knees.
Medium and close shot: the back of the cyclist, all the way to the knee. Overprinting the vertical street, he walked on the street with his back to the camera. He rode towards him, until the striped box reached the point of close-up.
A panoramic indoor view of a room. A girl sits at a table in the middle of the room and reads a book. The camera pans slightly, pushing it into the girl's front middle shot, and then the close shot. She suddenly looked up and was taken aback.
A momentary shot of the location. A overhead shot of a cyclist crossing the street.
Turning to the girl's shot, she was agitated and listened in horror. She suddenly closed the book with force and threw it on the table. Close-up of the book: The book was opened after being thrown on the table. From one of the pages, it can be seen that it is a copy of Vermeer's "Lady with Lace".
The lens is cut into the girl's mid-to-close shot. She stood up, the camera followed her and walked to the window. She opened the curtains and looked towards the street. It can be found that the pattern on her dress is exactly the same as that of the girl with the cut eyes—they are the same person.
Inside a room on the third floor of a building on this street. Sitting in the middle is a brightly dressed girl who is reading intently. She panicked suddenly, listened attentively, threw away the book, and threw it on the couch next to her. There is an illustration on the open page of the book, which is Vermeer's "Woman with Lace Embroidery". Now the girl was convinced of what had happened: she stood up, turned halfway, and walked quickly to the window.
Aerial shot of the street. The cyclist passed in front of a gas street lamp.
The camera turns to the girl's mid-to-close shot. She opened the curtains and watched carefully. She was taken aback and backed away.
A overhead shot of the cyclist. He stopped, and the man and the car fell to the ground beside the sidewalk.
On the street downstairs, the aforementioned man just stopped. Due to inertia, he fell into the ditch with people and his car, and his body was muddy.
A close-up of the girl's moment, she left the window a little bit. She looked both upset and angry—she approached the window again.
A short shot from the top down. The cyclist lay on the bicycle that fell to the ground.
Close-up of the girl. She seemed to be talking to herself, very angry at everything she saw.
A short close shot of a cyclist.
The girl's close-up shot. She walked around the iron bed in the bedroom (panning, panning), trying to open the door.
Quick close-up shot. The restless face of the cyclist who fell down outdoors.
Shot of a girl going down the stairs.
With an expression of anger and resentment, the girl hurried downstairs to the street.
Close up of cyclist lying on the ground. He turned his head slightly, a wheel of his bicycle spinning idly in the corner of the screen.
Close-up of the man lying on the ground. He was expressionless, the same posture as he fell.
The girl came out of the house and hurried to the biker, kissing his mouth, eyes and nose passionately. The rain is getting bigger and bigger, and the scene is blurred.
The door suddenly opened. The girl appeared, she stopped, looked at the cyclist, and pounced at him, (slightly patted down), she knelt down, cupped the man's face in both hands, and kissed him warmly again and again. ③
overprinting of the striped box cover close-up.
Into the box. The pinstripes of the box are brighter than rain. Open the box with two hands holding a small key and take a tie wrapped in tissue paper from inside. It must be noted that rainwater, boxes, tissues and ties should all appear as diagonal stripes, but the length is different.
Close-up: A woman's hand wearing a ring opened the box with a key, took out a small bag, opened the paper bag with both hands, and a striped tie appeared (the paper covering the tie is white). The camera was pulled back slightly, and it was the middle shot of the girl. She was standing by the bed with the cyclist's cloak spread out on the bed, along with the box and a hard collar. The girl tied the striped tie on the hard collar and put these things on the bed.
Still that bedroom.
The girl was standing by the bed, looking at the man's belongings—cloak, box, and hard collar with dark tie, all these things were in place; it was as if they were worn on a person lying on the bed. Finally, the girl decided to take the hard collar in her hand, took off the monochrome tie from the hard collar, and replaced it with the striped tie that she had just taken out of the box. She put the box back in its place, and then sat down by the bed, guarding there like a dead man. (Note: The bed here refers to the quilt and pillow. It is slightly wrinkled and sunken, as if there is a person lying there.) The
camera pans a half circle along the bed and sits down with the girl. A short shot of the bed slightly overhead, as described in the original script.
Close shot of the girl. She was thoughtful, looking a little tired. A quick shot of the bed. Switch to a close-up of the girl's face: she raised her head, then turned her face away.
The woman felt someone behind her, so she turned around to see who it was. She was not surprised when she saw that person. The visitor did not bring any supplies this time. She observed the things on his right hand very carefully. Her expression was tense and painful.
The shot after the girl turned her head was: at the other end of the room, the cyclist was dressed in dark clothes, raised his left hand to eye level, and looked at this hand with a little horror.
Short close-up shot of the hand: the palm is covered with ants.
Close-up of the cyclist in this pose.
Switching to the girl's panoramic view, she stood up from her seat and walked towards the man (pushing into a close-up view of the two). He stood at her place later, looking at what was in his palm. Cut it to a close-up of the ant on the hand. Turned to the scene of two people: the girl looked at the man, and she was covering her mouth with her hands in fear (perhaps in order not to scream). He didn't notice anything, still attracted by what was in his hand. Finally, he turned his head to the girl and looked at it, as if waking up from a dream.
A short big close-up of a hand covered with ants.
The painting of ants gathering fades out and turns into a close-up shot of a girl’s underarm hair. She is sunbathing on the lawn. Although it is a close-up of the long underarm hair, and it is very short, it can still be seen. After coming out, the girl put a white hat all the way above her eyes in order to shade her eyes. She seemed to be wearing a bathrobe, lying on the grass.
From the lens of hairs to a close-up of sea urchin, the spines of the sea urchin sway in the wind like a bunch of grass.
A close-up of a hand with ants crawling out of a black hole in the palm of the hand. Not a single ant fell.
Turned into the shot of a girl's hair under her armpits, she is lying on the sunny beach. Into a sea urchin gently shaking. It turns into an iris lens that looks down at a girl's head. The iris spread out and saw that the girl was among a group of people who tried to forcefully climb over the roadblock set up by the police.
Take a shot of the iris of a head from a high position (as pointed out in the original script), and the iris slowly spreads out. This is a very masculine girl with a hairstyle and dress like a man.
The man of both sexes fiddled with a bloody hand on the ground with a cane. (I immediately gave the impression that she wanted to put her cane between her fingers and let her hand climb up along the cane.)
⑥Overprinted shots of police dispersing the parade (probably taken from a newsreel).
Another overhead shot of both sexes, she continued her game. Some curious people imitated the parade in the overprinted footage and formed a circle, which was dispersed by two policemen.
Push and pat a severed bloody hand; the bloody hand was fiddled with the bottom of the cane. A close-up of the hand and cane, which probes the bloody cut surface of the wrist.
Switch to curious people imitating the parade. Several short close-up shots of people watching this scene. They were a bit panicked, and a bit cruel. Among those curious people, one was very panicked. He mechanically touched his hand along his wrist.
Cut into close-up of walking stick. The cane turned the bright red flesh on the severed hand.
Slightly looking upward to pat the noisy curious people, and then the shot of the severed hand again.
In the middle of the circle, the girl tried to pick up a hand with dyed nails from the ground with a cane. A policeman walked over and reprimanded her severely: the policeman bent over and picked up the hand, carefully wrapped it up, put it in the cyclist's box, and then returned it to the girl. The girl thanked him, and he saluted the girl.
It must be noted that when the police returned her box, the girl felt a special emotional attack that made her forget everything around her. She seemed to be immersed in the echo of a distant religious music, which may have been music she had heard in her childhood.
A close-up view of the window of a building on the street: the girl and the cyclist watched the scene downstairs through the glass window. They are very attentive, but a little unpleasant. Cut into the picture of the two sexes (oblique angled overhead shot, as if looking at her from a window), she continued to play with her cane and hand.
A short shot of the window and two viewers.
An overhead shot of a curious crowd surrounding both sexes.
A policeman violently pushed away a few people watching the excitement. He greeted him, then bent down and picked up his hand, and quickly stuffed his hand into the diagonally striped box.
The camera was pushed into a close-up shot of the policeman. He handed the covered box to the two sexes. The two sexes took the box over and pressed it against his chest.
Shot through the window. The man and the woman were getting crazier and shuddering. Especially for him, he simply lost his mind.
Cut into short shots of men and women. Then he cut back to the window, and the man's eyes opened wide, as if his eyes would pop.
Looking down on both sexes: She looks calm. The curious people who surrounded her dispersed one after another, some of them were pushed away by the police. Now there are both sexes left, and she is still holding the diagonally striped box tightly.
Once the curiosity is satisfied, the audience begins to disperse.
This scene was seen by the people we stayed in the room on the third floor. They can be seen through the glass of the balcony, and the scene described above can be seen from the balcony. When the police returned the box to the girl, the two people on the balcony showed the same excitement and even shed tears. Their heads seemed to sway to and fro to the rhythm of an inaudible music.
The man looked at the girl, his expression seemed to say: "Did you see it? Didn't I tell you?"
She looked towards the street again and saw the girl. She was alone now, as if nailed to the ground, unable to move at all. Several cars swiftly passed by. Suddenly a car drove past her and rolled her into two sections, which was terrible.
After the short shots of the girl and the biker behind the window, they cut back to the sexes, and she hugged the box tightly to her chest. Cars speeded by behind her.
Short shot of man and woman by the window. They seem to be arguing.
Cut back to bisexual people. The car passed by.
A close shot of a cyclist behind the glass window. He made a strange look and looked down.
A car drove towards us.
Short shots of both sexes, she watched the car driving towards her, she stretched her arms to the sky. The box fell to the ground.
A shot of a car approaching oncoming.
Switching to the middle shot of a bisexual person, in frantic fear, she hugged the box tightly to her chest, as if for self-defense⑦.
A short close-up of the cyclist at the window: he shows a brutal smile.
The two sexes were lying on the ground with the box falling aside.
The car that had just passed her drove away. Two pedestrians came, bending over to look at the person on the ground, and then a third person came.
The camera cuts to the window: The cyclist is looking at his female companion.
He seemed to be laughing. She left the window.
Inside the room, a double shot; then a few fast-paced front and back shots: they seem to be arguing about a car accident on the street. Suddenly, the cyclist stretched his hand to the woman's body, and she immediately retracted. He approached her, grabbed her breasts,...then, pushed her back abruptly. The girl was frightened, as if she was deterred by the man's gaze, she backed away, trying to escape. He drew closer and she backed away. She regained her composure and walked towards him; he backed up (here the back and forward are panning to the rhythm of the Argentine tango). In an instant, it seemed that two people were dancing close to each other. Big close-up of man's two hands touching girl's upper body. The middle shot of the girl. She resisted. Man's shot: He ducked, rushed up again, stroking her breast.
Close-up of the man's head (slightly looking up): wild gaze, bloody saliva from his mouth.
So, with the determination of a powerful man, the hero approached his aunt. He stared at the girl's eyes and looked at her lasciviously. There was a terrible, almost deathly pained expression on the man's face. Bloody saliva flowed from his mouth and onto the girl's bare breasts.
The man's expression changed. Evil, lustful eyes gleamed in his eyes. His open mouth was closed, and his muscle contraction became very small.
Close-up of the man: He looks a little surprised, the saliva is gone, and his face is full of lewd smiles. Medium shot of two people. The two faced each other, and the girl resisted him hard. Panoramic view of the room. The girl ran back, turned over the bed, and ran near the window. Panning man chased her. The way he walks is terrible.
The girl retreated to the depths of the room, and the man followed her closely. Suddenly, she made a powerful movement and broke free of his arm, free from the contact that harmed her.
The man's mouth twitched angrily.
She sensed that an unpleasant and intense situation was about to happen. She stepped back step by step, stepped back to a corner, and hid behind a table.
The man's expression is like a rude inferior in a farce. He looked around, searching for something. He found a piece of rope at his feet, he picked it up with his right hand, and his left hand was also looking for it, and found the same rope.
The girl leaned against the wall, watching with fear what her opponent was going to do.
He drew closer to her, dragging what was tied to the other end of the rope laboriously.
The girl continued to back away.
A short shot of a man's pained and angry face. Cut back to the girl's lens: She is against the wall and can't go back anymore. She raised her arm in terror, took off the tennis racket hanging on the wall, and held it in her hand as a weapon.
panoramic. She is in the background. He turned his back to the audience. He suddenly stopped running towards her. He looked to the ground and turned to look for something. Quick close shot. His face was even more angry and fierce. The shot of the girl. She was so frightened, she waved her racket to hit him. Several fast-paced front and back shots in a row: he slowly approached her, and she was startled (the rhythm of the Argentine tango dance restricted the rhythm of these shots). The middle shot of a man. He stopped. Flip his pockets, then look at the ground, and finally bent down to pick up the rope. Short close-up of the girl. She half-opened her mouth. Cut back to the man's shot. Holding the second rope in his left hand, he straightened up (the Argentine tango started again). The man put the rope around his shoulders and pulled a mysterious heavy object strenuously in the direction of the girl. A short shot of the girl. She was stunned and put down her racket. Cut for the man's overhead shot. He bent his body vigorously and walked towards the girl strenuously. Pan slightly, and gradually see what the rope is dragging.
The first thing that catches the eye is a bottle stopper, then a cantaloupe, two students from the seminary, and finally two very good grand pianos. The piano was full of rotten donkey meat, and the legs, tail, buttocks and feces of the donkey overflowed in the resonance box. When a piano passes in front of the camera, a big donkey's head can be seen resting on the keys. The man dragged the pile with difficulty, and desperately pulled it towards the girl. He overturned a chair, a table, a floor lamp, etc. Donkey butts are everywhere. The lights on the ceiling swayed, barely like a bone without flesh, until the end of the scene.
The description on the record book is relatively faithful to the film. It should be pointed out that after the first overhead shot, many other shots followed, depicting the slow movement of two grand pianos piled with rotten donkey meat.
A short shot of a girl who frightened and paralyzed.
Cut into a close-up of the donkey's head hanging on a piano pan (it must be pointed out that the cracked donkey's eyes are clearly visible).
Cut into a short shot of the girl clinging to the wall.
From the back of the man, he dragged a heavy object to the girl. Behind him, under the rope (the rope is decorated with fishing floats), two seminary students who were tied up let him drag them. They didn't care, folded their hands, praying. Overlooking the man dragging the lens of the person (on the other end of the lens, you can see the hat of the seminary student).
Another close-up of donkey head on keyboard.
Take a look at the seminary students and push them to a close-up shot: they are a little scared, but they still remain serious.
Short shot of a panoramic view of the room: the man walks towards the girl, that is, towards the door. A short close-up shot of the girl's face, then panning the middle shot of the girl rushing towards the door. When the man saw this, he threw away the rope and rushed towards the door. The girl walked through the door and closed the door, just pinching the man's hand.
When the man was about to catch up with the girl, the girl leaped and ran away. The man threw away the rope and drew his leg to chase. The girl opened the door of the room, and it disappeared in the next bedroom, but she did not have time to close the door. The man reached through the crack in the door, but his wrist was clamped.
The man's hand was squeezed in the crack of the door, and he struggled, as if screaming in pain. The camera on the other side of the door: The girl panted, and then stared at the door just closed in surprise and concern; the camera panned the panorama following her gaze. Close-up of hand reaching through the door. Open your hand and see the ants crawling on the palm. close up. The woman raised her hand to cover her mouth, not letting herself scream; then she turned around. Pan the room where the girl is. At the other end, lying on the bed was a man in a cloak with a striped box on his chest.
In the bedroom, the more the girl looked at the cramping hand, the harder she closed the door. The ants appeared again and scattered on the door. The girl immediately turned around and looked into the room. It was the same room, but it looked like another room because of the different lighting. The girl saw...
the same bed with a man lying on it, his hand still on the door, he was wearing a cloak, the box was on his chest, he was expressionless, his eyes wide open, with a kind of The superstitious expression seemed to say: "Now, something unusual is about to happen."
A close-up shot of the man lying on the bed. He opened his eyes wide and kept his eyes intently.
Close-up of the girl. She stared at him.
Man close-up. He stared at the girl, a certain kind of anxiety in his eyes. Pushed into a close shot of the girl. Close up of man's face. There is both anxiety and admiration on his face.
(Close to 3 o'clock in the morning)
The footage of the landing (the script we reprinted is faithful to the original script, and at the same time, the footage that was not in the original script but has been shot and edited is added with brackets).
On the landing, near the door of the suite, a new figure appeared from the back, and he just stopped. He rang the bell of the suite where the accident occurred (short close-up of the hand that rang the bell). I can’t see the bell, nor can I see the electric hammer of the bell, where the doorbell should be, through the hole in the door, I saw two hands (the two arms of the waiter in the cafe) shaking a silver cocktail to make Device. His movements are very fast, just like ringing an electric bell in a normal movie. The person in the bedroom jumped up from the bed (close-up). The girl left the man and walked through two rooms. The camera followed her to open the door.
(Short footage from outside the landing. With the back of the newcomer, he hurried in through the open door.) He walked straight to the bed and arrogantly ordered the man to get up. He was a little scared of the close-up shot of the person on the bed; then he shot down the middle shot of the two people. The lying person was very unwilling to get up, so the visitor had to hold his cloak and pull him up forcefully.
Based on the changes made during shooting, let's take a look at the above two paragraphs.
panoramic. Now the two stood face to face; the newcomer roughly tore off the other's silk cloak and threw it out the window.
The location shot from downstairs. Saw the cloak, and then the striped box fell on the street.
bedroom. Panorama of two men. When the newcomer was still in front of the window, the first person secretly took off the belt (used to tie the box) around his neck and put it in his pocket. The newcomer turned to look at him. The first man lowered his head, took the belt out of his pocket, and threw it at the other person, who threw the belt out the window.
A short location shot with the belt falling off.
After one person tore off the other's cloak, he threw it out the window. Then, the box and the rope that the person who was stripped of the cloak intended to use to escape the danger were also thrown out. In this way, the newcomer punished him and made him stand against the wall.
The newcomer does all this with his back to the camera. Now he turned around for the first time, looking for something on the other side of the room. At this time, the picture is blurred. When using slow motion to show the newcomer’s activities, we see that his appearance is exactly the same as the other person; they are the same person; but the second person looks young and sad, just like the person many years ago .
Two men's shots, the newcomer made a gesture to make the first person stand against the wall. The first person hesitated, but in the end he stuck it on the wall as if he was punished at school. His single shot. There is a tennis racket hanging on the wall next to him. He looked at the wall, then, like a punished student, lowered his head, turned around, double shot. The newcomer had the "punished" arms crossed.
The intruder took a few steps back and stared at the man with his arms crossed. ...He took off his hat...
(Sixteen years ago) ⑧The
middle shot of the door in the same room. The first person continues to be "punished". The newcomer walks to the camera. Now he is not wearing a hat. He puts his hands together and paces slowly, "like in a dream". He spreads his hands and walks to a table at the other end of the room (shaking) .
A close-up of the desk was shot overhead. There were two student textbooks stained with ink on the desk. A cheap dipped fountain pen can be seen in the old ink bottle.
The newcomer walked to the back of the room and turned his back to the camera for a close-up view. He walked towards a desk, the desk was framed by people. There are two books and a few student supplies on the desk: pay attention to determining the location and moral meaning of these things. He picked up the two books, turned around and walked to the other person. Suddenly, everything returned to its original position, the focus became blurred, and the slow motion was over.
close up. The newcomer holds the book on the desk in both hands. After he tore off one of the pages with ink stains, there was a short shot of closing the book. Close-up shot from the front. He held the book in both hands and pressed the book close to his chest, still using slow motion to shoot another person.
The first person was standing against the wall for a quick shot. He appeared uneasy and turned around; then, from under the tennis racket hanging on the wall, he walked towards the door next to him. Another person stopped him and handed him two books. A brief close-up of two hands holding a book. Panoramic, the first person returned to the root of the wall, but now his back is facing the wall; he holds a book in each of his hands, at this moment, the newcomer walks to the other end of the room.
The newcomer walked up to him, ordered him to cross his arms, put a book in each of his hands, and asked him to maintain this posture as a punishment.
The person being punished now has a keen, sly expression. He turned to the newcomer. The two books in his hands turned into revolvers.
The camera cuts back to the close-up shot of the first person holding the book and facing the wall. He saw the other person walking away. The camera patted the hand holding the book, and the book turned into a revolver aimed at the uninvited guest (like in a Western movie).
Another person with his back to the camera. He stopped and turned around, as if he had expected this scene a long time ago. panoramic. The foreground is the newcomer with his back to the camera, and the background is the first man aggressively; the two seem to be talking (reverse the camera). Then there was the frontal shot of the newcomer, who raised his hands uneasy under the threat of the gun.
The camera cuts back to the man with the gun, and he fired. Short shots. The bullet came to the screen, to the person (the back in the foreground). He fell down (upside down in slow motion). The brief close-up of the pistol was turned into the shot of the man. Although he seemed to be standing for a moment in the slow motion, he fell down.
The close-up of his face turned dark quickly.
The latter looked at him with a growing tenderness.
The man in the cloak forced the other with a pistol to "raise his hand", and even though he obeyed, the gunman fired. In the middle and close shots, the newcomer was fatally wounded and fell, his face convulsed in pain (the focus becomes vacant, and the motion of falling forward in slow motion is more obvious than the previous one).
Panorama meadow. There are woods in the distance, and in the middle of the grass is a naked woman, as if sitting on a stool, her back can be seen, her clothes dragged from the back to the ground, blocking the stool. The man injured by the bullet fell towards her. Close up of hands. He tried to grab the woman's bare back. However, a hand stretched out of the painting.
Cut to a panoramic view. The man fell on the grass. The naked woman still turned her back to the camera, motionless...Finally, the picture disappeared.
In the distance, I saw the injured man falling down. He was no longer in the bedroom, but in the park. Next to him was the back of a woman with bare shoulders sitting still, leaning forward slightly. When the injured man fell down, he wanted to catch her and touch her back; but his hand drew back tremblingly; and with the other hand, he just wiped the bare back skin, and he finally fell down.
Vision. Several passers-by and guards rushed to rescue him. They carried him through the woods, letting the fanatical cripple participate in the scene.
In the field, several people ran towards the fallen man.
Then there is a shot of two people walking peacefully, discussing something (one of them is holding a cane).
The camera cuts back to the shot of the fallen man. The others knelt around him, turned his body over, and took out his pocket; one person listened to whether his heart was still beating.
Close shot of two passers-by. They didn't care about what happened and didn't notice anything.
An overhead shot of the people surrounding the fallen person; one of them still put his ears close to the person's chest; the other raised the "corpse" on his left arm.
Shots of two passers-by. A third person was talking to them, and that person was very excited, as if explaining to them what had happened.
The two passers-by shrugged their shoulders and continued on their way. The man returned to the original place disappointedly, where four people were discussing around the dead body.
Freeze. Finally, when others lifted the dead body to leave, two passers-by entered the screen. One of them followed them like a mourner. The front of the person carrying the corpse (close-up shot). A shot of a "mourner" walking through the field. The panorama turns into the back of the mourner. They walked on the grass. (At the end of the shot, the main theme of Wagner’s music is played again.)
(As we said earlier, most of this set of shots respects the original script. Only the text in parentheses indicates that the changes were made and important shots.)
Also Go back to that bedroom. The door holding the hand opened slowly. (Dissolved into a short close-up shot of a girl staring at the wall) The girl we already knew appeared. She closed the door behind her and looked carefully at the wall that the murderer had faced.
The man is no longer there. The wall is intact, and there is no furniture or decorations against the wall. (Panning) The girl showed an expression of impatience and resentment.
Take that wall again, there is a dark spot in the middle of the wall.
Seeing this black spot from a closer distance (camera zooms in), it is a "skeleton" butterfly. A close-up of a butterfly (a close-up of a butterfly with a skull on its back).
The screen is full of skull patterns on butterfly wings. (Actually, this is the torso of the butterfly).
Medium and close shot. The man in the cloak suddenly appeared, and he hurriedly covered his mouth with his hands, as if his teeth were about to fall. The girl looked at him contemptuously. (A series of fast-paced reverse shots of these two people staring at each other.)
When the man withdrew his hand, he saw that his mouth was gone. The girl seemed to say to him: "Yeah! What happens next?" She wiped her lips with lipstick. (Mid shot of a man without a mouth, where the mouth is the long hair of a woman.) The
camera is cut into the man's head again. Hair began to grow in the mouth area. When the girl found out, she almost screamed. She looked excitedly at her armpit, where her hair was completely stripped ⑨. She stretched out her tongue contemptuously, put a big shawl over her shoulders, opened the door, and walked into the next room, which was a vast beach. (It should be pointed out that the girl turned around and stretched out her tongue again.)
The girl's middle shot, after closing the door, she appeared on the beach. The sea breeze howled, and she wrapped her large striped shawl tightly to keep out the cold. The back of a man, he is facing the sea. He wears a striped sweatshirt and a pair of golf pants. He turned around and walked towards us. The shot of the girl beckoning him over. They met (short panorama).
The man faces our single shot. He stopped and put his hands on his hips.
By the sea, the third person is waiting. They greeted each other affectionately and strolled along the waves.
The short shot of the girl running towards him. She grabbed his shoulders and hugged him tightly. Close shots of the two people, they were very happy. The girl raised her head to her companion, as if explaining something to him seriously. A short close-up of the girl's head, next to the man's hand, he is showing her his watch. The girl shrugged (medium shot), put his arm down, smiled at him, and walked out of the picture.
The camera of the two people, they put their arms around their waists, turned their backs to the camera, and walked along the sloping coast. Kiss from time to time. Cut to frontal shots. The girl hobbled on the pebble beach. There was a strong wind.
Close up of their legs, the waves hit their feet.
A close-up of the pebbles overhead. The first person's belongings (collar, cloak, skirt, cloth hat), and diagonal striped boxes are scattered on the beach. (A close-up shot of two people's legs; the man's foot is kicking the diagonally striped box.) The
camera moves and follows the shot. The waves beat lightly on their feet, first on the belt, then the striped box, the cloak, and finally the bicycle. This shot lasted for a while, and the waves didn't wash away anything.
The woman bent down to pick up the collar and belt.
The middle shot of the duo. The woman smiled and gave him what she picked up. He looked at these objects and threw them away one by one. The two hugged each other tightly and started walking again. The man helped the woman walk on the pebbles.
A shot of the two going away along the beach. In this last scene, the Argentine tango dance music plays.
Go dark.
They continued to walk on the beach and slowly disappeared. At this time, the word "spring" appeared in the sky.
Everything has changed. Now, there is an endless desert in front of them. The male protagonist and the girl are standing in the middle, the sand is buried to their chests, their eyes are blind, their clothes are ragged, and the sun and insects are devouring them.
A stop-motion shot exactly as described in the script. However, we require the words "spring" to appear on the gray sky picture.
① This detail was deleted when filming. ——Original Note.
②Vermeer (1632～1675), Dutch painter.
③There is no rain in the film, but in the double shot, the road is wet. ——Original Note.
④Please note that the original script started from this scene, calling the girl a "woman". In order to avoid making mistakes, in our version, "girl" is still used below. ——Original Note.
⑤The person is also the cyclist. ——Original Note.
⑥ This is a subjective explanation, but it fits the situation. ——Original Note.
⑦This kind of false connection may be thought of by myself, but no one has commented on it until now. One by one original note.
⑧The original script does not have this paragraph. One by one original note.
⑨In the film, it is a short shot of the girl who accidentally dropped the powder box on the ground. One by one original note.
Note from the original editor: The original script of "An Andalu Dog" has been published many times, especially in "Surrealist Revolution", "Film Magazine" (No. 6 November 1929), "Close-up Shots" (No. 13 Period) and Ado. Kirou dedicated to Louis. Bunuel’s book. However, it is usually the case that after shooting and editing, the finished film will have many modifications to the original script, but there are not many here. But because we want to publish this film as it is, we would rather record it shot by shot. The small bold letters in the text are consistent with the original script. Readers are requested to forgive the frequent repetitions in this notebook. We have considered various solutions, and only the current method is loyal to the original script and the finished work. "An Andalu Dog" is worth the effort to read, so as to better understand the creation of this film. The music of this film uses the recording of "Tristan and Isolda" in the "International Record Collection", performed by the Frankfurt Opera Symphony Orchestra, and Karl. Commanded by Bumbleherr. Its dubbing was carried out in 1960 in accordance with Bunuel's opinion, based on the recording of the recording during the first screening.
1. Ants crawling out of palms. Regarding ants, Dali once said that this is a symbol of fear in his eyes. As for why you should be afraid, please see "Autobiography of Dali" for details.
2. Just like the plot on the poster, a person is constantly sharpening his knife, thinking that someone is going to have a haircut. As a result, he cuts through the eyes of a woman~~ It's very "horrible"!
3. The people upstairs saw the car accident in the middle of the road, feeling a little gloating. The silent film of 1929 was able to convey a thrilling sensory excitement to the audience through the language of the lens and the soundtrack.
4. The skeleton on the back of the "Black Witch Moth". Please read the book "The Silent Lamb", which has a more detailed introduction to these animals. The back of this moth looked like a skeleton stuck on its back, from which the name "Black Witch Moth" came from.
5. At the end, two people walk together happily. Everything that happened before was slightly horrible, as if they did not leave any memory for them. In the cheerful rhythm, the two people went farther and farther.
6. The total length of the film is only 19 minutes. The bizarre storyline is full of alternate combinations of reality and dreams. Whether it is subconscious or conscious behavior should be a question that surrealists and psychoanalysts need to discuss. .
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