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Rohit Agrawal 191

Kritika Sharma

DSC 13 Twentieth Century Poetry & Drama

Semester V

Modernism and Surrealism in Film: Bunuel and Dali: Un Chien Andalou and Luis Buenel: The Obscure

Object of Desire(1977)

Introduction

Surrealism and modernism are two pivotal movements in the history of art and cinema

that sought to break free from the constraints of traditional forms and narratives. Surrealism,

spearheaded by Andre Breton, delves into the unconscious mind to uncover the irrational and the

dream-like, while modernism seeks to explore new forms of expression and narrative structures.

This essay examines the intersection of surrealism and modernism in cinema, focusing on Luis

Bunuel's films "Un Chien Andalou" (1929) and "That Obscure Object of Desire" (1977). The

analysis will discuss the iconic scenes from these films, refer to Andre Breton's Manifesto on

Surrealism, include insights from Bunuel's interview on "Un Chien Andalou," explore Sigmund

Freud's work on childhood and its relation to surrealism, and touch upon Albert Camus's essay

"The Myth of Sisyphus" to explore the theme of absurdism.

Surrealism in Cinema

Surrealism, as defined by Andre Breton in his 1924 Manifesto on Surrealism, is a

revolutionary movement that aims to liberate the human mind by exploring the unconscious and

the irrational. Breton writes, "Surrealism is based on the belief in the superior reality of certain

forms of association heretofore neglected, in the omnipotence of dream, and in the disinterested
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play of thought" (Breton). This movement sought to break the boundaries of reality by focusing

into dreams, daydreams and unconscious.

Luis Bunuel, a key figure in surrealist cinema, collaborated with Salvador Dalí to create

one of the most iconic surrealist films, "Un Chien Andalou." This film lives the surrealist

principles outlined by Breton, using shocking and irrational imagery to provoke a strong

emotional response from the audience.

"Un Chien Andalou": Iconic Scenes and Surrealist Imagery

"Un Chien Andalou" opens with a scene that has become epitomy of surrealist cinema.

The film begins with a man (played by Bunuel himself) sharpening a razor. He then uses the

razor to slice open a woman's eye, a sequence simultaneous with a cloud slicing through the

moon. This juxtaposition of unrelated images creates a sense of disorientation and shock,

embodying the surrealist aim of challenging the viewer's perception of reality. This scene was

inspired by a dream Bunuel had. The dreams often have no starting and no ending and thus

incomprehensible to us. Irrationality and in congruency is at the heart of surrealism. As Bunuel

himself explained in an interview, "The only rule of 'Un Chien Andalou' was very simple: no

idea or image that might lend itself to a rational explanation of any kind would be accepted"

(Bunuel).

Another iconic scene features a man's hand filled with ants crawling out of a hole. This

scene is also inspired by a dream Dali had few days before meeting Bunuel. Later, both decided

to create a film out of their dreams. Bunuel in the interview also said that they had completed the

script in seven days by. The script writing did not take much time since both Dali and Bunuel
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was against the idea of consciously putting meaning into things. The free flow of idea, like in

dream, is at the bottom of surrealism. The film's non-linear narrative, characterized by abrupt

transitions and illogical sequences, further reinforces its dream-like quality. Scenes such as the

man dressed in a nun's habit riding a bicycle and the sexual tension depicted through bizarre

transformations highlight the surrealist fascination with the irrational and the fantastical.

"That Obscure Object of Desire": Modernism and Surrealism Intertwined

In "That Obscure Object of Desire," Bunuel continues to explore surrealist themes while

incorporating elements of modernist cinema. The film tells the story of Mathieu, an aging

Frenchman, and his obsessive desire for a young Spanish woman, Conchita. Bunuel employs a

unique narrative technique by casting two different actresses, Carole Bouquet and Angela

Molina, to play Conchita interchangeably. This deliberate casting choice underscores the elusive

nature of desire. Mathiu’s loss of rationality and judgement asserts the surrealist tendencies of

mankind.

One of the most iconic scenes in the film occurs when Mathieu attempts to seduce

Conchita, only for her to present herself as sexually available and then abruptly close the door on

him. This scene epitomizes the film's exploration of desire and its inherent contradictions. The

dual portrayal of Conchita by two actresses further emphasizes the multifaceted nature of desire

and identity, aligning with modernist principles of fragmented and subjective storytelling.

Bunuel's style in "That Obscure Object of Desire" is rich in symbolic imagery. For instance, the

recurring motif of a sack filled with water dripping onto a bed evokes themes of unfulfilled
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desire and frustration. This surreal imagery, combined with the film's non-linear narrative,

reflects the influence of both surrealism and modernism in Bunuel's work.

Freud, Childhood, and Surrealism

Sigmund Freud's theories on the unconscious and childhood play a crucial role in the

development of surrealist art and cinema. Freud's concept of the unconscious mind, as outlined

in works such as The Interpretation of Dreams, posits that repressed desires and childhood

experiences shape our dreams and fantasies. Surrealists, including Bunuel, drew heavily on

Freud's ideas to explore the hidden depths of the human psyche. Breton in his essay expressed

his gratitude towards Freud for his work on dream,:

It was, apparently, by pure chance that a part of our mental world which we pretended

not to be concerned with any longer -- and, in my opinion by far the most important part -

- has been brought back to light. For this we must give thanks to the discoveries of

Sigmund Freud(…)Freud very rightly brought his critical faculties to bear upon the

dream..”(Breton)

In "Un Chien Andalou," the emphasis on dream-like sequences and irrational imagery can be

seen as an attempt to visualize the workings of the unconscious mind. Freud's influence is

evident in the film's symbolic representations of repressed desires and fears. For example, the

image of ants crawling out of a man's hand can be interpreted as a manifestation of deep-seated

anxieties and the fear of decay.

Similarly, "That Obscure Object of Desire" delves into the complexities of desire and

identity, themes that are central to Freud's theories on sexuality and the unconscious. The film's
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depiction of Mathieu's obsessive pursuit of Conchita and the use of surreal imagery to convey his

inner turmoil reflect the influence of Freudian psychology on Bunuel's work.

Absurdism in Bunuel's Films: Insights from Camus

Albert Camus's essay "The Myth of Sisyphus" explores the concept of absurdism, the

idea that life is inherently meaningless and that humans must find their own meaning in a

seemingly indifferent universe. Camus uses the myth of Sisyphus, who is condemned to eternally

push a boulder up a hill only for it to roll back down, as a metaphor for the human condition. He

argues that acknowledging the absurd and embracing it without resignation is the only way to

achieve true freedom.

This theme of absurdism is prevalent in both "Un Chien Andalou" and "That Obscure

Object of Desire." In anti-narrative "Un Chien Andalou," the irrational imagery reflect the

absurdity of existence. The film's lack of a coherent plot and lynchian illogical sequences

challenge the viewer's search for meaning, much like Camus's Sisyphus. The characters in the

film engage in futile actions, such as the man trying to pull two grand pianos with dead donkeys

inside, echoing the absurdity of human endeavors.

In "That Obscure Object of Desire," Mathieu's obsessive pursuit of Conchita is absurd.

His relentless desire for an unattainable object mirrors Sisyphus's eternal struggle. His desire put

a veil on his eyes and mind, leaving him incapable of understanding Conchita’s motives. The

dual casting of Conchita underscores the futility of Mathieu's quest, as he can never truly possess

or understand her. This portrayal of desire as an endless, unfulfilling pursuit aligns with Camus's

concept of the absurd, highlighting the inherent contradictions and irrationality of human

existence.
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Andre Breton's Influence on Surrealist Cinema

Andre Breton's Manifesto on Surrealism laid the theoretical foundation for the

movement, emphasizing the liberation of the human mind through the exploration of dreams,

fantasies, and the irrational. Breton's call for an "absolute reality" that reconciles the conscious

and unconscious mind resonates deeply in Bunuel's films. In his manifesto, Breton writes, "I

believe in the future resolution of these two states, dream and reality, which are seemingly so

contradictory, into a kind of absolute reality, a surreality, if one may so speak" (Breton).

Bunuel's films embody this surrealist vision by blurring the boundaries between reality

and fantasy. In "Un Chien Andalou," the disjointed narrative and shocking imagery challenge the

viewer's perception of reality, creating a sense of surreality that aligns with Breton's ideals. The

film's lack of a coherent plot and its reliance on irrational and dream-like sequences exemplify

Breton's call for a new form of artistic expression that transcends the limitations of rational

thought.

The Intersection of Surrealism, Modernism, and Absurdism

While surrealism and modernism are distinct movements, they share common goals of

challenging traditional forms and exploring new modes of expression. Modernist cinema often

rejects linear narratives and embraces fragmented storytelling, a characteristic that is also central

to surrealist films. Both movements seek to disrupt the viewer's expectations and provoke critical

engagement with the material.

"Un Chien Andalou" and "That Obscure Object of Desire" exemplify the intersection of

surrealism, modernism, and absurdism in cinema. In "Un Chien Andalou," Bunuel's use of

disjointed narrative and shocking imagery aligns with modernist principles of non-linear

storytelling and self-reflexivity. The film's surrealist elements, such as the iconic eye-slitting
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scene and the bizarre transformations, reflects the irrational and unconscious mind’s bizarre free

flow of idea. The portrayal of absurd, futile actions in the film resonates with Camus's concept of

absurdism, highlighting the meaningless yet inescapable nature of existence.

In "That Obscure Object of Desire," Bunuel combines surrealist themes with modernist

techniques to create a complex and multifaceted narrative. The dual casting of Conchita and the

film's symbolic imagery reflect the modernist focus on subjective experiences and the

fragmentation of identity. At the same, the film's exploration of desire and its contradictions

aligns with surrealist principles of delving into the irrational and the unconscious.

Conclusion

Luis Bunuel's films "Un Chien Andalou" and "That Obscure Object of Desire" are

seminal works that exemplify the intersection of surrealism and modernism in cinema. Through

their innovative narrative structures, symbolic imagery, and exploration of the unconscious mind,

these films challenge traditional forms and provoke critical engagement with the viewer.

Bunuel's work is deeply influenced by André Breton's Manifesto on Surrealism and

Sigmund Freud's theories on the unconscious and childhood. The surrealist emphasis on dreams,

fantasies, and the irrational is evident in the disjointed narratives and shocking imagery of

Bunuel's films. At the same time, the modernist focus on subjective experiences and the

fragmentation of identity is reflected in the complex narrative techniques and symbolic

representations in "That Obscure Object of Desire."

By blurring the boundaries between reality and fantasy, Bunuel's films create a sense of

surreality that aligns with Breton's vision of an "absolute reality." The iconic scenes in "Un

Chien Andalou," such as the eye-slitting sequence and the ants in the hand, and the dual
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portrayal of Conchita in "That Obscure Object of Desire," exemplify Bunuel's masterful blending

of surrealist and modernist elements.

Works Cited

Breton, Andre. Manifesto of Surrealism. 1924.

Film Bench, Luis Bunuel interview about Filmmaking And storytelling | Film Bench,

Youtube, 2 April, 2022, https://www.youtube.com/watch?v=0-

71vmGIdN8&t=17s&ab_channel=FilmBench

Freud, Sigmund. The Interpretation of Dreams. 1899.

Camus, Albert. The Myth of Sisyphus. 1942.