UN Chain AndalouDirected by Luis Bunuel Produced by Luis Bunuel Pierre Braunberger Written by Luis Bunuel Salvador Dali Starring Pierre BatcheffSimone Maroon Luis BuñuelSalvador DalíJaime MiravillesMusic by Richard Wagner Cinematography Albert DuvergerJimmy Belief (credited)Edited by Luis BuñuelDistributed bytes Grands Films Classifies (France) 6 June 1929 (1929-06-06) (France) 21 minutesCountryFranceLanguage Silent film (French intertitles)Budget< 100,000 francs UN Chain Analog has no plot in the conventional sense of the word.
The chronology of the film is disjointed, jumping from the initial “once upon a time” to “eight years later” without events or characters changing. It uses dream logic in narrative flow that can be described in terms of the then-popular Freudian free association, presenting a series of tenuously related scenes.
The film opens with a title card reading “Once upon a time”. He then opens the door, and idly fingers the razor while gazing at the moon, about to be engulfed by a thin cloud, from his balcony.
There is a cut to a close-up of a young woman (Simone Maroon) being held by the man. She calmly stares straight ahead as he brings the razor near her eye.
Another cut occurs to the moon being overcome by the cloud, then a cut to a close up of a hand slitting the eye of an animal with the razor (which happens so quickly the viewer may believe it was the woman's eye), and the vitreous humor spills out from it. A slim young man (Pierre Batch eff) bicycles down a calm urban street wearing what appears to be a nun's habit and a striped box with a strap around his neck.
A cut occurs to the young woman from the first scene, who has been reading in a sparsely furnished upstairs apartment. She hears the young man approaching on his bicycle and casts aside the book she was reading (revealing a reproduction of Vermeer's The Pacemaker).
She goes to the window and sees the young man lying on the curb, his bicycle on the ground. She emerges from the building and attempts to revive the young man.
A slow transition occurs focusing on the armpit hair of the young woman as she lies on the beach and a sea urchin at a sandy location. There is a cut to an androgynous young woman, with bobbed hair and dressed in rather masculine attire, in the street below the apartment.
She pokes at a severed human hand with her cane while surrounded by a large crowd held back by policemen. The androgynous young woman contemplates something happily while standing in the middle of the now busy street clutching the box.
The young woman resists him at first, but then allows him to touch her as he imagines her nude from the front and the rear. The young woman pushes him away as he drifts off, and she attempts to escape by running to the other side of the room.
The young man corners her as she reaches for a racquet in self-defense, but he suddenly picks up two ropes and drags two grand pianos containing dead and rotting donkeys, stone tablets containing the Ten Commandments, two pumpkins, and two rather bewildered priests (played by Jaime Miracles and Salvador Dali) who are attached by the ropes. As he is unable to pursue, the young woman escapes the room.
The young man chases after her, but she traps his hand, which is infested with ants, in the door. She finds the young man in the next room, dressed in his nun's garb in the bed.
The young man is roused from his rest by the sound of a door-buzzer ringing (represented visually by a Martini shaker being shaken by a set of arms through two holes in a wall). Another young man, whom we see only from behind, dressed in lighter clothing, arrives in the apartment, gesturing angrily at him.
The second young man forces the first one to throw away his nun's clothing and then makes him stand with his face to the wall, as if in disgrace. The subsequent title card reads “Sixteen years ago”.
We see the second young man's face for the first time (and discover that he is also played by Pierre Batch eff) as he admires the art supplies and books on the table near the wall and forces the first young man to hold two of the books as he stares at the wall. The second young man, now in a meadow, dies while swiping at the back of a nude female figure which suddenly disappears into thin air.
The young woman returns to the apartment and sees a death's-head moth. The first young man sneers at her as she retreats and wipes his mouth off his face with his hand.
The young woman very nervously applies some lipstick in response. He shows her the time on his watch, and they walk near the rocks, where they find the remnants of the first young man's nun's clothing and the box.
They seem to walk away clutching each other happily and make romantic gestures in a long tracking shot. However, the film abruptly cuts to the final shot with a title card reading “In Spring”, showing the couple buried in beach sand up to their elbows, motionless and perhaps dead.
Simone Maroon as Young Girl (as Simone Maroon) Pierre Batch eff as Young Man and Second Young Man (as Pierre Batches) Luis Bunuel as Man in Prologue (credited) Salvador Dali as Seminars and as Man on Beach (credited) Robert Home as Third Young Man (credited) Kieran Gerber as Seminars (credited) Fans Mess an as Androgynous Young Woman (credited) Jaime Miracles as Fat seminars (credited) The screenplay of the film Andalusian is based on two dreams of its creators Luis Bunuel and Salvador Dali.
The idea for the film began when Bunuel was working as an assistant director for Jean Epstein in France. Bunuel told Dali at a restaurant one day about a dream in which a cloud sliced the moon in half “like a razor blade slicing through an eye”.
Dali responded that he had dreamed about a hand crawling with ants. They were fascinated by what the psyche could create, and decided to write a script based on the concept of suppressed human emotions.
The title of the film is a hidden reminiscence from the Spanish saying: “the Andalusian dog howls-someone has died!” The screenplay was written in a few days. According to Bunuel, they adhered to a simple rule: “Do not dwell on what required purely rational, psychological or cultural explanations.
In deliberate contrast to the approach taken by Jean Epstein and his peers, which was to never leave anything in their work to chance, with every aesthetic decision having a rational explanation and fitting clearly into the whole, Bunuel made clear throughout his writings that, between Dali and himself, the only rule for the writing of the script was: “No idea or image that might lend itself to a rational explanation of any kind would be accepted.” In his 1939 autobiography Bunuel said: “In the film the aesthetics of Surrealism are combined to some of Freud's discoveries.
The film was totally in keeping with the basic principle of the school, which defined Surrealism as 'Psychic Automatism', unconscious, capable of returning to the mind its true functions, beyond any form of control by reason, morality or aesthetics.” The film was financed by Bunuel's mother, and shot in Le Havre and Paris at the Billancourt Studios over a period of 10 days in March 1928.
However, in an interview in 1975 or '76, Bunuel claimed that he had used a dead calf's eye. During the bicycle scene, the woman who is sitting on a chair, reading, throws the book aside when she notices the man who has fallen.
In Bunuel's original script, the final shot was to feature the corpses of the man and woman “consumed by swarms of flies”. However, this special effect was modified due to budget limitations, with the film ending with a still shot of the man and woman, who had been walking in the previous beach scene, half-buried in the sand and apparently dead.
Anthropologist Jean Rough has reported that after filming was complete, Bunuel and Dali had run out of money, forcing Bunuel to edit the film personally in his kitchen without the aid of a Mo viola or any other technical equipment. The first screening of UN Chain Analog took place at Studio DES Ursuline's, with an audience of let out-Paris.
Notable attendees of the premiere included Pablo Picasso, Le Cor busier, Jean Cocteau, Christian Bernard and Georges ARIC, in addition to the entirety of André Breton's Surrealist group. The audience's positive reception of the film amazed Bunuel, who was relieved that no violence ensued.
Dali, on the contrary, was reportedly disappointed, feeling the audience's reaction made the evening “less exciting”. Bunuel since claimed that prior to the show, he had put stones in his pockets “to throw at the audience in case of disaster”, although others had no recollection of this.
After its “triumphant premiere”, UN Chain Analog was bought by the owner of “Studio-28”. During its eight-month run, forty or fifty informers came to the police with a demand to ban such an indecent and cruel film.
This was the beginning of years of insults and threats that haunted Bunuel until his old age. A likely apocryphal account claimed that two miscarriages occurred while watching the film.
Through their accomplishment with UN Chain Analog, Dali and Bunuel became the first filmmakers to be officially welcomed into the ranks of the Surrealists by the movement's leader André Breton, an event recalled by film historian Georges Soul : “Breton had convoked the creators to our usual venue ... one summer's evening. Dali had the large eyes, grace, and timidity of a gazelle.
To us, Bunuel, big and athletic, his black eyes protruding a little, seemed exactly like he is always in UN Chain Analog, meticulously honing the razor that will slice the open eye in two.” Among the most enthusiastic viewers of the film were the wealthy couple Viscount Charles and Marie-Laure de Noailles, who commissioned Dali and Bunuel to create a sequel, of around the same length, with sound, to be called La Beta Andalusia, in order to affirm its connection with UN Chain.
Dali stated that the theme of the new film was to parallel that of the first: “to present the straight and pure 'conduct' of someone who continues to pursue love despite wretched humanitarian ideals, patriotism and the other poor mechanisms of reality.” The Braille family quickly withdrew the film after it was banned by the Prefecture of Police of Paris.
During the original 1929 screening in Paris, Bunuel selected music which he played live on a gramophone. Modern prints of the film feature a soundtrack consisting of excerpts from Richard Wagner's Liefest from his opera Tristan UND Isolde and a recording of two Argentinian tangos, “Tango Argentina” and “Records” by the Vicente Alvarez & Carlos Otero ET son orchestra.
Premiere ranked the opening scene as 10th out of “The 25 Most Shocking Moments in Movie History”. The Eraser heads named a song from their fifth album, Sticker Happy, after the film.
The Collection: Muse National CENTR de Arte Ran Sofia. ^ Ebert, Roger, “UN chain analog” , Chicago Sun-Times, 16 April 2000, p. 22.
^ Davis, Allan (2008), Cult Films: Taboo and Transgression, University Press of America, Inc., pg 11. ^ Current, T. and J. DE la Colin (1993), Conversations Alec Luis Bunuel, Paris, p. 32.
Federico Garcia-Lorca got angry because he claimed that he was being made fun FHE thought he was the dog in UN Chain analog. Para SU Later y yo, para SU facial y malintencionado Later y yo, El burro menus burro, El burro MAS odious con Que nosh emos torpedo.
“Notes on the Making of UN Chain Analog”, in Art in Cinema: documents toward a history of the film society. Pour en finer Alec one ruler : Du Noumea SUR LE scandal DE l'Age d'or.
The Technique of Film and Video Editing: History, Theory, and Practice. Machete Filipacchi Media U.S. Archived from the original on 28 April 2007.