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.

As a fresh 35mm print of Charlie Chaplin's quintessential 1947 thriller Monsieur Verdoux begins circulating through revival houses around the country, it seems like a good time to remind people that while the late actor is mainly known as a star of the silent screen, he definitely didn't die with it. Although the greatest slapstick artist of all time initially rejected the development of sound film, mocking it with hilariously exaggerated voices in City Lights, he eventually adopted it after realizing that resistance was futile. However, he refused to simply throw in a few lines of dialogue to accompany his beloved tramp shtick, choosing instead to take his career in a fresh direction. While Chaplin made many sound films over the course of several decades, only two of them really qualify as classic talkies (except for Limelight, which deserves a category of its own). Late flops like A King of New York don't really hold together, but Chaplin's initial forays into the world of sound film display his talent as a composer of distinctive prose.

His first work of this era, The Great Dictator, remains a masterpiece that broadened the potential of his tramp character with a modified Prince and the Pauper tale applied to World War II, and Chaplin doing double duty playing both a Jewish barber and an exaggerated Adolf Hitler (or "Hinkel," rather). Monsieur Verdoux, in which he plays a frustrated man whose losses during the Great Depression lead to a twisted scheme where he marries, murders and robs rich women, represented something else altogether: Chaplin's only brooding melodrama, the occasional laughs are almost incidental.

We've seen pictures, a featurette went live on Apple yesterday, and now Yahoo has the first official trailer for this summer's Valkyrie, directed by Bryan Singer, and starring one heckuva cast including Tom Cruise, Carice van Houten, Bill Nighy, Terrence Stamp, Kenneth Branagh, Tom Wilkinson and Eddie Izzard. Apart from it being a tad weird to watch English and American actors play a group of high-ranking German officers, the film looks great. I've been looking forward to Singer stepping away from the superhero world for a bit; I absolutely loved The Usual Suspects and it's been ten years since the guy came out with something on the big screen that wasn't based on a comic book. Coincidentally (or not), Singer's last hardcore drama (Apt Pupil) also dealt with Nazi themes, but this time the director decided to take it one step further and set his film in Germany, during World War II.

Based on a true story, Valkyrie (which was written by Christopher McQuarrie, who also penned Suspects) follows a group of German officers who, in 1944, conspired to assassinate Adolf Hitler in an attempt to end the war. The trailer looks sharp, cold, and though Cruise seems a bit out of place (then again, maybe it's just me), the rest of the cast look solid in their roles. Additionally, as freak-ish as it might sound, Cruise looks exactly like the real-life character he's portraying, Col. Claus von Stauffenberg. Valkyrie will attempt to find a home stuffed between two giant comic-related films (The Incredible Hulk, The Dark Knight), but I have a feeling it'll do just fine when the film hits theaters on July 27.