In French Surrealism, how successful was the combination of politics with theories of the unconscious?

“Success” is challenging to evaluate for this movement because of the highly conflictual period in which it was prominent, between the World Wars. There were many intersections between psychological and political theories and practice.
Surrealism became an international movement, but its origins were in France. Andre Breton took the term “surreal” from the French Modernist poet Guillaume Apollinaire and then applied it in his 1924 “Manifesto of Surrealism.” His debt to Freud’s theories of the unconscious or subconscious is both considerable and clearly acknowledged.
Breton saw Freud’s ideas as particularly important to art and to the patients he had treated during World War I, for access to inner states that were “unencumbered by the slightest inhibition.” Access to dream states during the creative process was especially crucial to artists. Breton advocated “psychic automatism...[lacking] any control exercised by reason.”
Much early Surrealist art—in literature, music, and visual arts—was aligned with leftist politics, but many of those involved rejected political affiliation and insisted on the focus on interior states. The Revolutionary Socialist journal, which began publishing in 1925, featured visual art as well as writing. Breton himself was a socialist and, for a time, a member of the Communist Party. In 1935 he published his “Political Position of Surrealism.” While in Mexico in the late 1930s, he co-authored with Diego Rivera the “Manifesto for an Independent Revolutionary Art.”
In the mid-late 1930s, as conservative, nationalist currents gained sway throughout Europe, Surrealists often found themselves not only targeted by critics but also censored by governments, under accusations of “degeneracy.” The Nazi assault on “degenerate” art at the 1937 Munich exhibition was a turning point in such attacks. These political developments were often anti-Semitic and/or anti-gay, and some of the artists were Jewish and either openly gay or accused of being gay. Marxist politics was another reason that artists were targeted and their works were banned.
The center of Surrealist and other artistic activity was Paris, which was a haven for expatriates. Surrealist currents were influential in works by French artists such as Man Ray and Yves Tanguy, and in the related Dadaism. In 1935, Surrealists helped organize an International Congress of Writers for the Defense of Culture in Paris.
The scene changed drastically when Nazi Germany invaded France in May 1940, crushed the resistance, and instituted the Occupation. While some artists fled to Unoccupied France in the south, others went into exile. Breton soon moved to New York. For the duration of the war, the relationship between active resistance and simple survival created a schism that many believe has never been bridged. Those who did not join the Resistance were routinely considered collaborators with the Nazis; they often insisted that the content and media of their art were in and of themselves anti-Nazi and, more fundamentally, anti-repressive, and that they had engaged in underground actions.
http://teachersinstitute.yale.edu/curriculum/units/2002/3/02.03.06.x.html

https://www.metmuseum.org/toah/hd/surr/hd_surr.htm