TwentiethCenturyFox Tagged Articles at Cinematical

Call it performance art, savage prank behavior or audacious social satire. Call it whatever you want, but there's no question Sacha Baron Cohen is at it again. As Erik reported back in March, the Borat star began surfacing as his Bruno alter-ego in a variety of absurd situations likely intended for the movie starring the effeminate European character. Wearing chains at a Kansas church? Check. Weirding out Ben Affleck? Check. Airport dancing? Yep. Now, bizarre reports of a cage match in Arkansas, where attendees paid for admission expecting to watch a fight and instead witnessed two men get naked and lock lips, suggests Cohen is still at it, more than three months down the line. Not only that, but he appears to have pulled the stunt twice: First on June 5 at the Four States Fair Grounds in Texarkana, then again at Fort Smith's convention center, where a character named "Straight Dave" apparently selected a planted audience member to challenge him.

Whether or not you agree with Cohen's brash style -- he claims to take inspiration from Michael Moore's stunts --
the actor definitely constructs his gags with very specific ideas in mind. Borat took a stab at American stereotypes of foreign cultures, but Bruno looks like it's geared more towards attacking homophobia -- specifically as it manifests in middle America. However, it's hard to say whether or not such excessive spectacles will manage to correct misinformed perspectives or reinforce them.

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.