Daliland – movie review
The genius, the arrogance and the madness of Spanish artist Salvador Dali (played by Ben Kingsley) is front and centre in Daliland. Mary Harron’s (American Psycho) film presents a picture of a 70-year-old man obsessed with sexual creativity, but who doesn’t actually have sex.
Dali deeply loves his volatile wife, Gala (Barbara Sukowa), who controls all the finances and runs her own life. The pair spend their winters in the upmarket St Regis Hotel in New York, a practice they have maintained for 20 years. But they burn through $20,000 each month … and money (or lack thereof) is always an issue. For her part, Gala is besotted with the lead singer in the musical Jesus Christ Superstar and indulges his push for fame.
The film unfolds through the perspective of James (Christopher Briney) an intern at a New York gallery about to stage an exhibition of Dali’s works. An art school dropout, James catches the eye of both Gala and Dali. After coming to an arrangement with the gallery owner, Christoffe (Alexander Beyer), he’s soon working directly for the master. Chtistoffe’s one condition is that James ensures Dali produces enough work to complete the exhibition, since the wall space still hasn’t been filled. Gala is on Dali’s case too because he’s far too easily distracted, throwing wild parties. Matters take another turn after the exhibition. James witnesses some questionable practices; but can’t quite believe what he’s walked into, end embraces the hedonistic lifestyle. Still, he comes to realise that all that glitters is not gold.
Written by John Walsh, Daliland is a fascinating insight into the life and times of Salvador Dali. Just how accurate it is, I can’t say, but “colourful” doesn’t cover the half of it. The film also includes fond recollections by Dali of his early days with Gala.
Christopher Briney does a fine job as James. But I greatly appreciated the over-the-top portrayals in this work which contrast sharply with James’ naivete. Dali is self-centred, but deeply vulnerable; and Ben Kingsley well captures the absurdity of it all. Gala is equally indulgent and prone to frequent fits of pique. She regularly throws objects at her employees. Barbara Sukowa ensures she is seen as a force to be reckoned with. As the gallery owner, Alexander Beyer represents the cutthroat, ruthless nature of the art world.
I found Daliland particularly enjoyable for its unpredictability. Harron gives no cues as to what will happen next. The film has a craziness about it, as well as an underlying sadness because it’s coming to the end for Dali and Gala.
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Alex First is a Melbourne based journalist and communications specialist. He contributes to The Blurb on film and theatre.