Tag Archive: Salvador Dalí


Alice_biblio“In a Wonderland they lie, Dreaming as the days go by, Dreaming as the summers die: Ever drifting down the stream, Lingering in the golden gleam. Life, what is it but a dream?”

La Biblioteca Malatestiana in Cesena  are celebrating the 150th anniversary of  Alice In Wonderland with a small exhibition (curated by Giulia Quintabà & Maria Luisa Pieri).

This consists of book illustrations from a range of editions of Charles Lutwidge Dodgson’s timeless classic,  together with photographs, objects and brief biographical information.

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One of the illustrations for the Treviso Comic Book festival

34 designs are by artists in collaboration with the Treviso Comic Book Festival and these are far preferable to the sappy Disney style illustrations  in some of the books on display.

These do not top the original drawings by Sir John Tenniel (1820-1914) which are still the ones that best stand the test of time.

The surrealism and wonderful strangeness of Lewis Carroll’s work means that it’s a work that never really goes out of fashion and remains as popular with adults as with children. Continue reading

BUÑUEL MEETS PYTHON

L’ Age d’Or / The Golden Age directed by Luis Buñuel (France, 1930)

review_lage_dorThis movie begins with stock footage of scorpions as if it were a natural history film. Captions give details about these predatory creatures, such as to tell us that “their pincers are instruments of aggression and information”. The desire to convey “aggressive information” could also be said to be a strong motivating factor for the two surrealists. Although serious targets were in their sights, there is plenty of evidence of a deliberately perverse sense of humour. An instinctive sense of the ridiculous and a defiance of logic mean that the movie could be viewed as a forerunner to the comic sketches of Monty Python’s Flying Circus.

Bunuel by Dali

For example, some captioned links like ” some hours later” and “sometimes on Sundays”, have the same contrived quality as the Python catchphrase ‘…and now for something completely different’. In addition, incongruous details like a cow in a bedroom or a horse and cart driving through a room full of well-heeled party goers take an almost childlike pleasure in mocking the sanitized politeness of bourgeois society. And there is also something John Cleese-like about the exaggerated anti-social behaviour of Gaston Modot as ‘the man’. This includes kicking a dog and a blind man, hurling abuse at passers-by and slapping the face of a countess for spilling his drink. His frustration appears to stem from thwarted attempts to make love to Lya Lys as The Young Girl. The impossibility of satisfying a simple desire would later become the central theme to Buñuel’s classic The Discreet Charm of the Bourgeoisie. Though the couple remain fully clothed, their love scenes seem designed to provoke censors. for instance, the girl licking the toes of a statue blatantly suggests the act of fellatio.

crucifixAny doubt that religion is the prime target is dispelled by the closing sequences where we see a Christ-like figure leaving a sadistic orgy to the sound of tribal drumming and an image of a crucifix decorated with women’s scalps as jolly music plays. If ever there was a film that was made to be banned, then this is it. Salvador Dali and Buñuel could not realistically have expected official endorsement for the manner in which they show such wanton disrespect for bastions of the establishment and the catholic church in particular. It was made in 1930 and it was not until 1979 that it received formal premiere in the U.S. Better late than never.

The Discreet Charm Of The Bourgeoisie directed by Luis Buñuel (France, 1972)

One of the guiding principles of surrealist artists like Salvador Dali, Max Ernst or Luis Buñuel was that ideas and images should defy rational explanation.

In his autobiography, ‘My Last Breath’, Buñuel linked this to his religious non-belief, writing that “my form of atheism leads inevitably to an acceptance of the inexplicable”.

This philosophy is evident in The Discreet Charm Of The Bourgeoisie, the second of a movie triptych he made near the end of an illustrious career spanning almost half a century.  The movie shares themes of coincidence, mystery and the nature of truth with The Milky Way (1969) and The Phantom Of Liberty (1974)

The notion that things in his films should be understandable and explainable filled Buñuel with horror. He saw the inherent contradictions of reducing a work of the imagination to a formula or a rigid set of principles. He thus prefered to describe the events of The Discreet Charm Of The Bourgeoisie as “realism in the midst of delirium”. Continue reading