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Un Chien Andalou (1929)
"Un chien andalou" (original title)

 -  Short  -  6 June 1929 (France)
7.9
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Ratings: 7.9/10 from 25,322 users  
Reviews: 125 user | 81 critic

In a dream-like sequence, a woman's eye is slit open--juxtaposed with a similarly shaped cloud obsucuring the moon moving in the same direction as the knife through the eye--to grab the ... See full summary »

Director:

(as Louis Bunuel)

Writers:

(scenario), (scenario)
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Title: Un Chien Andalou (1929)

Un Chien Andalou (1929) on IMDb 7.9/10

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Cast

Complete credited cast:
Simone Mareuil ...
Young girl (as Simonne Mareuil)
Pierre Batcheff ...
Man (as Pierre Batchef)
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Storyline

In a dream-like sequence, a woman's eye is slit open--juxtaposed with a similarly shaped cloud obsucuring the moon moving in the same direction as the knife through the eye--to grab the audience's attention. The French phrase "ants in the palms," (which means that someone is "itching" to kill) is shown literally. A man pulls a piano along with the tablets of the Ten Commandments and a dead donkey towards the woman he's itching to kill. A shot of differently striped objects is repeatedly used to connect scenes. Written by Ryan T. Casey <RTCasey@mn.uswest.net>

Plot Summary | Add Synopsis

Plot Keywords:

piano | ant | donkey | moon | grand piano | See more »

Genres:

Short

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

6 June 1929 (France)  »

Also Known As:

Un Chien Andalou  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

After editing the film, Luis Buñuel and Salvador Dalí didn't know what to do with it. An acquaintance introduced Buñuel to Man Ray, who had just finished The Mysteries of the Chateau de De (1929) and was looking for a second film to complete the program. The two movies premiered together at the Studio des Ursulines. See more »

Goofs

When the young woman with the box is about to be run over by a car, she raises her hands. At that moment she is not holding the box. In the next shot just before the accident she is holding the box again. See more »

Connections

Referenced in Alice (1988) See more »

Soundtracks

Tristan und Isolde: Liebestod
(Opera)
Written by Richard Wagner
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User Reviews

 
Open Doors To The Irrational
5 May 2005 | by (Virginia, USA) – See all my reviews

Couple of weeks ago I visited Philadelphia Museum of Art. One of the reasons I went there was to try to see the Salvador Dali's exhibitions but the tickets have been sold until the end of April. While in the museum, I was able to see two films that Dali was a big part of. In the video Gallery of the museum, two intriguing projects have been running together in the continuous loop, the early "Un Chien Andalou" (17 minutes) and the recently released, animated Destino (6 minutes). This was the first viewing for me. I kept coming back to the gallery for few more times and I never was tired of both short films.

The inspiration for "Un Chien Andalou" began with the dreams of two men, two artists, and two friends. Luis Bunuel and Salvador Dali exchanged the dreams they both had, Bunuel - about a slender cloud slicing the moon in half "like a razor blade slicing through an eye", and Dali - about a dream involving a hand enveloped by ants. Both artists soon began working on a film script based on these ideas.

Made in 1929, the film has not aged at all. The film's disconnected but haunting scenes and images are as shocking today (at least, for me they were) as I am sure they were 75 years ago. The reason the film is so powerful today may be in the themes of love, sex, death, and decay that are eternal and will always attract the artists and audiences alike. It is also could be in the establishing and following by both artists the certain rules, "No idea or image that might lend itself to a rational explanation of any kind will be accepted...We had to open all doors to the irrational and keep only those images that surprised us without trying to explain why." Perhaps, Dali and Bunuel intended their film to be experienced directly and not analyzed by the viewers.


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