*. As with any distinctive style, surrealism soon became the stuff of parody. Anybody could “do” surrealism: all you needed was to grab a camera, shoot some random film, and then edit it together in an obscure way.
*. The next step was that the whole process became material for a meta-parody. This is what we get in Even — As You and I, a short film about three rather dim fellows (the three credited directors) who decide to enter an amateur filmmaker contest. After a brainstorming screenplay-writing session comes up with nothing but variations on the “boy meets girl” scenario they are inspired by a magazine article on surrealism to give that a try. At least they won’t have to worry about a script!
*. Taking their cameras to the street they set about trying to assemble a surrealist masterpiece, with copies of Dali paintings being their only guide. It seems their main preoccupation with surrealism is in tricks of perspective. Their Eureka moment comes from looking at a picture in the magazine that represents something different depending on which way the page is turned. So they drop a camera down a manhole and climb a hydro pole to capture odd angles.
*. This is a bit odd, since when they screen the final cut of their film, The Afternoon of a Rubberband, it doesn’t include any such material. Instead there are the usual surrealist props in motion and an homage to the eyeball-cutting scene in Buñuel’s Un Chien Andalou.
*. Finally, they realize that they are too late to enter the contest, which depresses them until they realize that there is another contest for cinematographers advertised under the headline of tricks and gadgets. They are in business again.
*. Well, it’s a send-up of a style of filmmaking that was already pretty much over and an industry that most of the people who know it best have viewed as comically absurd. There are a bunch of movie in-jokes to smile at. The filmmakers didn’t go on to do much, with Harry Hay being probably the best known name and he was mostly famous for being an early gay rights activist. Otherwise, it’s a reminder of what happened to surrealism: how a groundbreaking and controversial movement had, in the space of ten years, become “tricks and gadgets” and the stuff of parody. Ironically, such a fate may be the truest measure of its success.