1.11.12

Psychoanalysis review - Un Chien Andalou

Surrealism, described by some as a work with elements of surprise, described by others as poetry, embodies in the film industry as Un Chien Andalou, a short silent film by the Spanish director Luis Buñuel and the artist Salvador Dali released in 1929.



Despite the fact that the film could be described as ‘uncanny’ or beyond the ordinary, it begins with the phrase “Once upon a time” ,a phrase that would automatically bring up the idea of it being a fairy tale, and as such, that the narrative will eventually lead to a “and they lived happy ever after”.
The film starts with a man sharpening the blade of a razor and tests it on his own thumb. With a cigarette in his mouth the steps out on a balcony and stares at the moon. Just as a cloud passes in front of the moon a face of a woman appears looking staring at the audience. Followed scene: a close up of the woman’s eye being cut open by the razor blade.
This instant aggression summarises most of the transition of the film in many ways. From the rest of it it’s easy to recognise that the main characters are one man and one woman, but even saying that it becomes difficult and nearly impossible to define these characters and the tracking of their motivation and their relationship is ambiguous as they’re not giving; therefore the idea of a conventional plot or narrative is destroyed. Not only it’s difficult to follow chronologically but it also relies on the audience’s ability to grasp on details and symbolisms.

The interpretation of the film it’s based around the main unquestionable concepts within it; obsession, desire, insanity and sexual tension are some of which the audience recognises a certain level of “familiarity” in relation to inner fetishes and therefore multiples interpretations can take place regarding the director’s original intention. This creation of an internal conflict between the inner self and the rationality mixed with the symbolic value within society is what can either create a personal interpretation of the film while on the other hand refuting to create one can be caused for a notion of self-denial. Taking it from a Freudian point of view, the whole film is represented from the male point of view or perspective, and there are several aspects that could be connoted as having phallic origins that would explain the general dark feeling of the film.

Also it’s worth mentioning that the first few scenes induce the idea of anticipation of murder and fear, and because it’s not under the category of “horror” film but under surreal can cause disturbance in a general audience, specially knowing that modern society understands rationally the primary process such as a fetish yet it remains as a taboo of something that needs to keep repressed and retained. Probably now a days a film like this would not cause much commotion, but part of its complexity relies on the fact that it was thrown at an audience more than 80 years ago, transforming it into an avant-garde masterpiece. 


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