Salvador Dalí was the greatest Surrealist painter and a towering figure of avant-garde art in the 20th century. His flamboyant mustache, costumes, and bizarre antics made him a darling of elite society. Dalíland chronicles his relationship with hedonistic wife and muse, Gala, in two different timelines but not from their perspective. The film takes a peek into the zoo approach that offers no real insight to a creative genius. What we get is literally drugs, sex, and rock ‘n’ roll with a rote and uninspiring delivery. That’s tremendously disappointing given the luminous eccentricity of its subject.
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Dalíland is seen through the eyes of James (Christopher Briney), a handsome young assistant at New York City’s Dufresne Gallery in 1974. Dalí (Ben Kingsley) has an important show coming up but hasn’t completed any new paintings. The naive James is sent to prod the artist as an unwitting new boy toy. Gala (Barbara Sukowa) feasted on virile studs with Dalí voyeuristically enjoying the carnal spectacle. Her raging libido and motherly fawning was Dalí’s best motivator.
The plan works. Dalí and Gala bring a wide-eyed James into their world of lascivious excess. He becomes smitten by the alluring Ginesta (Suki Waterhouse), a mainstay of the Bohemian orgies party crowd. She becomes his de facto guide and lover on a sensual odyssey. This further enthralls Dalí, who nicknames James “San Sebastian” and gives him errands as the painterly juices flow again.
Ezra Miller as Young Dalí
Magnolia Pictures
Dalíland periodically flashes back to a young Dali’s (Ezra Miller) beginning infatuation with Gala (Avital Lvova) in 1920s Catalonia. Their origin story explains how her guidance and understanding of his personality led to astonishing success. Gala meant everything to him. Servicing her whims was his raison d’être. James learns there can be no competition as he accompanies the couple back to Spain.
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Director Mary Harron (I Shot Andy Warhol, The Notorious Bettie Page) initially uses James as a shock and awe metric. He’s the impressionable clay desperate to be forged by the hands of an undisputed master. Who wouldn’t jump at the chance? The film’s title refers to James entering Dalí’s orbit like a kid in an adult theme park. But the sheen wears off as James takes umbrage with what he interprets as Gala’s exploitation of her husband. Even the casual observer to their lifestyle could see that Dalí thrived when pleasing her. It makes little sense for James to think he could have any impact whatsoever on a defined commitment.
Dalíland’s most perplexing failure is the actual painting process. Gala cracked the whip for production. All the razzle dazzle carousing certainly wasn’t free. It’s understood they had money issues. But where did Dalí’s extraordinary ideas come from? What fountain of imagination poured unto the canvas? That’s surprisingly never explored. James buys Dalí painting supplies and voilà, incredible artwork materializes. There had to be a better attempt at portraying his thought process.
Dalí’s Elaborate Presentation
Ben Kingsley and Ezra Miller are underused here. Dalí feels like a shiny prop passed around for gawking. The film always focuses on his elaborate presentation, Dalí’s peacock entrance awing sycophants as they shower praise and curry favor. There are only fleeting scenes of the real man behind the facade. Dalí’s artistic innards remains a mystery. The only thing you learn here is that he liked to watch other people fornicate.
Dalíland is a production of Pressman Film, David O. Sacks, Zephyr Films, Popcorn Films, and Serein Productions. It will have a limited theatrical and VOD release on June 9th from Magnolia Pictures.
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