MuseumOfModernArt Tagged Articles at Cinematical

Even the weirder artists of the twentieth century have been attracted to the allure of Hollywood filmmaking, and Salvador Dali was no exception. In the fall of 1941, the surrealist painter hosted a masquerade party at Pebble Beach during one of his regular visits to the town. Called "Surrealism Night in An Enchanted Forest," the fundraising event, intended to assist European refugee artists, brought out a number of stars, including Bob Hope and Ginger Rogers. It was here, the story goes, that Dali became attached to a major studio production called Moontide. The great German emigre Fritz Lang was hired to direct the movie, and asked Dali to create a three-minute nightmare sequence for the film. Unfortunately, after the incident at Pearl Harbor later that year, Twentieth Century Fox deemed the project too bleak. Lang was replaced, and Dali's nightmare sequence went with him.

Although inspired by the movies, Dali didn't always have the easiest time making them. He would get another chance to inject his hallucinatory vision into American cinema with the hypnosis scene in Alfred Hitchcock's Spellbound, but it's his unrealized projects that truly indicate the scope of the painter's ambition. So many ideas, such little time. Dali: Painting and Film, a breathtakingly unique exhibit currently on display at the Museum of Modern Art in New York, surveys Dali's completed cinematic works in addition to tidbits from the ones that never came to fruition. Marvelously structured to show how his paintings were intentionally cinematic, the exhibit contains all the obvious highlights from Dali's movie career alongside lesser-known productions. The importance in film history of his collaborations with Luis Bunuel remain uncontested; two large screens in separate rooms showing Un Chien Andalou (where the opening eye splicing retains its original gross-out impact) and L'Age D'Or attest to that. Fewer visitors, however, might know about Dali's collaboration with the Marx Brothers on a deliriously strange movie that sounded too good to be true.

It warms my heart when popular art is recognized as art, rather than being written off as "product" by the intelligentsia. If I had to pick one recent set of commercial films to formally celebrate as an artistic achievement, I would have gone with The Lord of the Rings, but the Bourne trilogy is a strong contender. New York's Museum of Modern Art has acquired the Bourne films and is screening all three of them this week, accompanied by panel discussions with Bourne Identity director/franchise supervisor Doug Liman and an expert on neuroscience and memory.

MoMA didn't break with precedent by adding the Bourne movies to its collection, which includes a number of other "mainstream" works (e.g. all of the James Bond films). I'm a bit surprised the MoMA curators were able to get any sort of consensus on Bourne, given many cinephiles' distaste for the hyperactive editing style of Supremacy and Ultimatum. Of course, I do agree with the assessment that the movies represent a higher standard in action filmmaking, both dramatically and technically. As for how much they have to contribute to our understanding of "brain function, memory, personality, and identity" -- ehhh. I like the films, but I'm not sure they seriously engage with those questions. I'm all for talking about it though.