DIRECTED BY: Paul Morrison
FEATURING: Javier Beltrán, Robert Pattinson
PLOT: In Madrid in the 1920s, with Dadaism in full flourish and Surrealism in its infancy,
soon-to-be-famous poet Federico García Lorca flirts with soon-to-be-famous painter Salvador Dalí while soon-to-be-famous director Luis Buñuel hangs around.
WHY IT WON’T MAKE THE LIST: It’s subject is Surrealism, but its style is conventional historical romance.
COMMENTS: A supposed collegiate love affair, supposedly unconsummated, between stuffy poet Lorca and flamboyant painter Dalí is the subject of this pleasantly lensed and generally competent costume affair. Spanish society in the 1920s is socially repressive (although the three idealists have no clue how much worse it will get in a few years with Franco’s arrival), and the budding geniuses yearn to upset the established order. Beltrán imbues Lorca with a sense of dignity, although his thick accent is frequently a practical impediment for the viewer. Pattison makes for a distractingly pretty Dalí; his failure to capture the spirit of the eccentric painter is probably more the failing of the simplistic script. Buñuel is an underdeveloped third wheel and utility player: a homophobe when the story calls for a homophobe, a foil when it needs a foil, a mediator when it requires a mediator. We hear bits of Lorca’s poetry, get glimpses of Dalí’s canvases, and see the shocking bits from Un Chien Andalou (1929), but we get no real sense of what motivates these men as artists. Though Beltrán shows suitable young romantic torment when he’s rejected, it’s hard to credit the suggestion that this awkward fling would have made enough of a impact on either man to influence their future art, much less be a driving force. Dalí postures and lectures about the need to “go further” and “go beyond” in art; not only do we not see concrete examples of what he means, but there’s irony in the fact that the filmmakers don’t heed his advice. Other than one mental montage where Lorca mixes up impressions of a bullfight he’s watching with jealous fantasies of Salvador and Luis living it up in Paris, and an odd pseudo-ménage à trois that may make some giggle, the film is extremely conventional and predictable in its approach. These are fascinating men in a fascinating time, so the decision to put the overwhelming focus of the film on a bit of gossip about who did or didn’t sleep with whom, while humble, is a let down.
I can’t help but be amused by the thought of the few tween Twilight fans, showing up to see vampire heartthrob Pattison in action, getting slapped in the face by the eyeball slitting scene from Un Chien Andalou. It still makes me squirm, and it must seem incredibly weird, random and shocking—particularly in this context—to anyone who doesn’t know it’s coming.
WHAT THE CRITICS SAY:
“The film is an open-hearted tribute to three great iconoclasts, whose response to its piety and sincerity would, most likely, have been ruthless and obscene mockery.”–A.O. Scott, The New York Times