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
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