Several clichés are present in the wiseass anti-biopic Daaaaaalí! This nose-tweaking comedy addresses the problem with telling a conventional narrative with a well-known figure such as the Spanish surrealist Salvador Dalí. The hardiest and possibly the most tempting truism comes instead of last: Salvador Dali was, as were many other artists-public figures, the biggest work of art. Yes, but so what?
Apparently, the film “Daaaaaalí!” contains almost all tropes without exception, and it does this quite easily in all the 70+ minutes, which captures more of the artist, rather here 4 actors portray him, when a persistent french journalist comes after him -muiralzione. He (various) keeps turning up for interviews with the overzealous Judith, in the greatly subordinate to the Visions Anais Demoustier: a journalistic wannabe very keen to please. But then, this is not his final position, his attention span does not appear to be long. Mostly though, writer-director Quentin Dupieux Yannick presents another of his jumbled osjećaj in search for the gargantuan dali’s psyche.
“Daaaaaalí!” challenges the audience by not letting go as the narrative circles within itself in dreams embedded in dreams and gruesome interludes where at best Dalí is seen discussing his artwork if not creating it. When the film opens, it is set in a hotel. Dali (Édouard Baer) steps through the corridor to see Judith. He makes silly remarks about the ugly design of some of the buildings as he passes by. He aims his cane up, down, and sideways without a cloud of care about anything and everything he’s doing and walks into rooms as if traveling like Lancelot in the sequence that, in ‘Monty Python and the Holy Grail,’ beat the storm Castle. It is not only the structure of the building that is not to Dalí’s expectations, it is also the setting of the interview that was to take place. Sparkling? Yes, would you like some flat water? No flat water, no sparkling. One hour? Make that 15 minutes. In the end, the interview begins even before it goes too quite; Dalí is not seen being filmed by any cameras or perhaps this is a deal-breaker.
The daaaaaalí! film continues with Judith in pursuit of Dalí although sometimes it may seem that it is either the forces of nature or Dalí’s own creativity that keeps contriving ways to bring her into contact with him. Worrying visions and ominous symbols lead one to wonder whether Judith should be placed in a confessional with Dalí. Not really, not for long anyway. Some symbols are as easy to understand as the well-known symbols that have been created around the artistic poses attributable to Dalí over the years. At times a priest (Éric Naggar) narrates a dream about a psychopathic cowboy, a sudden entrance to hell, and a camel trek across a desert. Contemporary surrealist Dalí (Gilles Lellouche) dismisses the entire sequence and physically walks backwards, saying “See you soon” in an altered audio. There is also the Casey Stones odd recurring visual of an elderly Dalí (Didier Flamand) standing up from his wheelchair and darting around the containing porch of his beachfront house. This too, is significant, but why would something that is so simple stalk Dalí so viciously?
Judith’s difficulties of getting herself any type of response from Dalí represents only part of what can be said concerning the relationship of any such or of any such other great artist. She tries to make it possible for all possible obstetric techniques in order to add some spices to the initiatives — one, instead of having it two film cameras, a movie producer would be recruited (Romain Duris), makeup processes would be performed, new dresses bought, et cetera.
It all appears normal to Dalí, an ongoing thought that Jonathan Cohen and Pio amraii, who are convinced of his self-proclamation, is perhaps the most important person in the room whatever else is the occupation of that space. It’s Dalí’s one world, and Judith is in the role of a satellite surrounding him, something that is rather shallow and terribly irritating in its own right, except that Dupieux is so brilliant that he manages to drown our anticipation.
In one amusing picture storm of toy dogs falls down from the sky and outside Dalí’s window. “Call me back later,” the painter says to Judith who has disturbed him, “though I have to say something now.” Judith’s producer is attempting to make meatballs with a dinner fork while comparing Judith’s hairstyle to an inflatable sex doll, oh and those are actually, terrible compliments to make. In both scenes, one could quite rightly note that ‘even’ Dalí had a thin and banal world. Cold, people-sized, rational—this is how Dalí is. Kind of like how sheffield does the joke in center – dolly is where the truth is.
And Followers of Dupieux’s cult, as they already baptizes himself, already knows that’s the key and only reason, secretly lurking in plain sight is all that Daali da Dali: dhullation, as long as Daali is delusional only crazy people wouul feeel secure even if it is morally..what’s worst solange da ali is about illusion. And besides, they never stage such perfomances where, closing her eyes, wheels, Dyure received pleasant impulses.
Rather, Dupieux possesses an adequate idea for composition and an ability for filling up a camera frame. He possesses a good grasp of drama in his comedies as well and so, there is an unusual assurance that suits these Daaaaaalí! films which are anticlimactic in their sense of humor. Much to the envy of “Daaaaaalí,” this is a Hall of Mirrors which is what it is except that it was designed to ‘capture’ more than describe some elusive genius. To this end, the most comical thing about “Daaaaalí!” is how many times Dupieux manages to convince you that he is about to do something completely different when it is quite obvious that he is going to do exactly what you think he is going to do. It is not an advanced subtle went for a punch line, but then again there is very little wit and much more anti-humor from Dupieux that is quite disarming.
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