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Daaaaalí! is currently available for VOD rental or purchase.
DIRECTED BY: Quentin Dupieux
FEATURING: Anaïs Demoustier, Edouard Baer, Jonathan Cohen, Gilles Lellouche, Pio Marmaï, Didier Flamand, Éric Naggar
PLOT: A journalist attempts to interview Salvador Dalí, but the painter’s erratic behavior and demands constantly cut her attempts short.
WHY IT MIGHT JOIN THE APOCRYPHA: If you asked who would be the most intriguing modern director to concoct a Salvador Dalí biopic, Quentin Dupieux’s name would be at the very top of the list. While other directors resort to bemused realism to tackle the Surrealist icon’s notoriously slippery persona, Dupieux is a kindred spirit who fearlessly jumps right in to what makes Dalí tick: the irrational, the nonsensical, the dreamlike. Confident in its refusal to explain its enigmatic subject, Daaaalí! is the only cinematic portrait one could imagine the real Dalí endorsing.
COMMENTS: More weirdly witty than funny and anything but insightful, Daaaalí! tackles its unknowable subject in the only way possible: as a dream. Aspiring journalist Judith somehow gets the famous artist to agree to sit down for a magazine interview, but when he finally arrives—after imperiously striding down a seemingly endless hotel corridor for long enough for Judith to hit the bathroom and order room service—he immediately shuts down the interview because there’s no camera. Then, when Judith reschedules and secures a camera for a second attempt, Dalí accidentally destroys it. And so on. Dalí serves as a negative force in the film, denying and sabotaging every plan that does not accord with his transient, selfish whims. It soon becomes apparent that, like Judith, we are never going to learn anything about the artist beyond his surface facade of arrogance.
But insight into the man is not what this movie is, or should be, about. Instead, Daaaaali! is thoroughly Surrealist in spirit, evoking Dalí’s aesthetics (and, equally, those of Dalí’s great frenemy, Luis Buñuel). These men’s sensibilities are a perfect fit for Dupieux, who barely has to fine-tune his own eccentric predilections at all to tell this story. After the premise is established, we quickly spin off into a labyrinth of dreams and anachronisms (we see completed paintings, then later in the film we see Dalí in the process of painting them). Nothing encapsulates the playful narrative spirit better than the long digression (over a bowl of muddy stew with live worms) in which a priest tells the painter about a dream he had where he was shot by a cowboy while riding a donkey. That incident doesn’t end the dream, however; it keeps recurring throughout the film. We are quickly lost inside an arbitrary narrative structure that almost gets as confusing as Dupieux’s bewildering Reality. But we’re anchored in Dalí’s frustratingly quirky, self-involved personality, and in Judith’s repeated failure to capture anything of substance about her quarry.
There are basically four actors who play Dalí, plus one actor who plays old Dalí (a sub-Dalí standing to one side of the main story), plus at least one bonus Dalí who only appears for a few seconds. There could be more Dalís running about, but 4-5 Dalís seems like the most accurate number, without counting fractional Dalís. This use of multiple actors in a central role is, naturally, a reference to Buñuel’s That Obscure Object of Desire, just as the continuous failure to consummate the interview recalls the failed dinner party of The Discreet Charm of the Bourgeoisie. The gentle anticlericalism shown by the repeatedly-shot priest character is also a decidedly Buñuelian touch. Dupieux adapts these Surrealist motifs so naturally that, as much as anything, Daaaaali! serves as a reminder that the Rubber auteur, while often trafficking in modern pop culture references like slashers and superheroes, is himself firmly anchored in the Buñuel/Dalí tradition. Dupieux even creates a living Dalíesque tableau to bookend the film: a piano with a tree sprouting from its cabin and a fountain spouting from its keyboard, draining into a piano-shaped pool. Although critics sometimes view Dupieux as a lightweight due to his prolific output and disinterest in tackling political or otherwise “weighty” themes, in actuality he stands nearly alone in carrying on this strain of classical European Surrealism. We may not learn much about Dalí in Daaaaali!, but hopefully people will learn more about Quentin Dupieux’s underappreciated talents.
WHAT THE CRITICS SAY:
