Un Chien Andalou officially welcomed into the ranks of the Surrealists by the movement's leader André Breton, an event recalled by film historian Georges Sadoul: "Breton had convoked the creators to our usual venue [the Café Radio] ... one summer's evening. Dalí had the large eyes, grace, and timidity of a gazelle. To us, Buñuel, big and athletic, his black eyes protruding a little, seemed exactly like he always is in "Un Chien Andalou", 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
Persona (1966 film) of a second and intended to be "subliminal". The sheep is from Luis Buñuel's 1929 "Un Chien Andalou", and the personification of Death was used in Bergman's 1949 film "Prison". Michaels linked the spider in the prologue with the "spider-god" in Bergman's 1961 "Through a Glass Darkly". Törnqvist said that the spider is visible under a microscope, indicating its use for study. When the boy reaches out to his mother, it is to shifting photographs of Ullmann and Andersson. In addition to the prologue, the story is interrupted by a midpoint celluloid break. Scenes creating a "strange" or "eerie" effect