Un Chien Andalou Noailles, who commissioned Dalí and Buñuel to create a sequel, of around the same length, with sound, to be called "La Bête Andalouse", in order to affirm its connection with "Un Chien". Dalí 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." This new film ultimately was released in 1930 under the title "L'Age d'Or" but was quickly withdrawn by the Noailles family after being banned by the
Happy Days (play) this way but we never discover how she came to be trapped so. A number of suggestions have been put forth to explain where the idea for the original imagery originated. James Knowlson has suggested images from Luis Buñuel’s 1928 film, "Un chien andalou" or a photograph by Angus McBean of Frances Day. Beckett required the set to have "a maximum of simplicity and symmetry" with a "very pompier trompe-l'oeil backcloth to represent unbroken plain and sky receding to meet in far distance". "What should characterise [the] whole scene, sky and earth", he wrote, "is a pathetic unsuccessful realism, the