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Un chien andalou (Version française) [Import]


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1 new from CDN$ 129.90 2 used from CDN$ 68.88

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Product Details

  • Actors: Abel Jacquin, Pierre Batcheff, Simone Mareuil, Alexandre O'Neill, Luis Buñuel
  • Directors: Luis Buñuel
  • Writers: Luis Buñuel, Salvador Dalí, Maurice Legendre, Pierre Unik, Rafael Sánchez Ventura
  • Producers: Luis Buñuel, Ramón Acín
  • Format: Subtitled, NTSC, Import
  • Language: French
  • Number of tapes: 1
  • MPAA Rating: UNRATED
  • Studio: Kino Video
  • VHS Release Date: Jan. 9 2001
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (20 customer reviews)
  • ASIN: B0000560QI

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Customer Reviews

4.5 out of 5 stars
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'Un chien andalou' (1928) is the best-known film on this video and is a fascinating work in its own right, but the real masterpiece here is undoubtedly 'Land Without Bread' ('Las Hurdes'). As great as most of Bunuel's subsequent films would be, this 27-minute 1932 work arguably towers above them all. Calling it a documentary would not do justice to its unrivaled breadth: among other things, this film asks the questions 'what is a documentary?' and 'what is the role of the documentarist?', and this prevents us from using definitive, short-circuiting labels. In fact, no label could conceivably express this film's power. The controversy surrounding this work has three main sources: 1) some of the sequences have apparently been staged by Bunuel; 2) the impersonal narration seems in direct contrast to the pain and tragedy that unfolds on the screen; 3) so is Bunuel's choice of using Brahms's Fourth symphony as background music. For these reasons, cinephiles have been disagreeing for over 70 years about Bunuel's treatment of human and animal misery in this film. For me, his audacious technique creates a space - a window - between the viewer and the plight of the Hurdanos; it is this space that somehow transfigures their misery, rather than merely exploit it (as some have suggested). The film becomes a true initiation for the viewer: it provides a difficult, troubling but potentially life-changing experience. In the end, Bunuel's intentions do not matter as much as the impact his film can have on those who see it; and for this viewer, he has carved a moving, mysterious and ineffable work.
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Can't say I'm surprised really because neither do I!
One guy on the video ( well my version of it ( which has two versions of the film ))says that this is a film about the sex-war and yada yada ya while another reviewer says this film is " indefinable "......so hold on if even a reviewer thinks this film is indefinable than what chance do we have of knowing......effectively zilch!
We may have our own opinions on this film but the thing with this is that each is valid. If you hate this film for the basic fact that it didn't make sense.....you would be right because it effectively doesn't
So why watch it? As funny as this may seem I don't really have an answer for that question. Blind fascination perhaps, that's all!
As I was saying I have two versions of this. One that Bunuel used with the soundtrack of Wagner's Tristan Und Isolde, which you might find isn't fitting with the film ( perhaps that's the whole point ). The other soundtrack is made by Mauriccio Kagel which is far more experimental and more jarring to the person who watches the film.
I don't know which version is used on the version that is sold to Americans.....neither do I know what the other film on the American version is like. I am only reviewing Un Chien Andalou - if I ever get the chance to review the other film I'll give my thoughts on that film as always
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Recently, I purchased and viewed my first Luis Bunuel film, Los Olvidados (The Young and the Damned). The film is very good, including some incredibly poignant and unforgettable images. I then decided to purchase and view one of his earlier works, likewise considered a masterpiece of film, Un Chien Andalou/Land Without Bread. This is awful. A mish-mash of mush! Its only redeeming quality is its brevity. Once again, here we have a film that is given much more credit than it deserves, and I'm starting to think that the reason this often happens is that: a) the movies are old and therefore deserve respect for being "groundbreaking" b) they are "enigmatic," which is the critically vogue term for "confusing," which is often the polite term for "stupid," which when inserted into the VCRs of sheltered and myopic film critics can be enigmatically transformed into "intellectual." What's more appalling than this film is the praise that is heaped upon it. So the eyeball scene is groundbreaking. So what? It's not all that! I suppose lifting up the blanket--twice--to view the dead baby was likewise groundbreaking. Try disgraceful. Un Chien Andalou/Land Without Bread is a mongrelization of meaningless movie-making that belongs on some dusty shelf in some vault catalogued for historical reference only. You've been warned.
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I had heard of Luis Bunuel from a number of sources, one of which was my mother, and also from various filmmakers in documentaries, in particular on the commentary track for the film Easy Rider with Dennis Hopper. I had also heard that he was the hero to many of the new-wave moviemakers of America and Europe during the 60's and 70's. So I knew, like Godard and Kurosawa, I'd have to see his stuff sooner or later, preferably sooner. Then came the tough question, where to begin? Bunuel, in a career that spanned fifty years, had made dozens of works, and many have been given praise time and time again. So, I found this short film on video-tape (I haven't just yet seen the documentary that accompanies it, Land without Bread, but I intend to), and being that it's less than twenty minutes long I knew I could watch it all the way without, at the worst, getting too bored. Luckily, I was not disappointed in the least. Un Chien Andalou (The Andalousian Dog) is one of the most breathtaking features ever produced, short or feature length, and the way it slips so gracefully between what could be considered something of a reality and a collague of images is nothing short of a miracle. True this could be seen as a the common movie-goer as a pretentious attempt at an "art" film, but Bunuel and his collaborator Salvadore Dali have seized the perfect technique in blending the ideal of storytelling and that of the ideal of a painter.
There is a story that I could see, however a simple one, which was all a filmmaker would need in the days when synchronized sound was a newborn child; a woman meets a man, they are in a room, he attempts to have his way with her, and then in goes from there.
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