Ben Kingsley and Ezra Miller on the autobiography of Mary Aaron – The Hollywood Reporter

A picture of the indulgence of celebrities in the art world as seen by a young man who still has some illusions to destroy, Mary Harron‘s Dalyland The film revolves around pottery surrealism, and plays it with restraint and dignity Ben Kingsleywhile gently highlighting the direction of his complex wife / muse Gala, a role that Barbara Sokoa More than attracting the attention of the film. A lot of talk about the premiere will have to do with the scandal-plagued scandal Ezra Miller, who briefly plays the artist as a young man; But this part of the acting proves to be very apt, and the film deserves to be judged – as enjoyable and informative, if very familiar with storytelling – apart from that popular epic.

Public life was nearly as inseparable from Salvador Dali’s art as it is to the work of Andy Warhol (an earlier subject of Aaron, 1996). Shot Andy Warhol), so it is fitting that the 1974 introduction to him – through the eyes of James (Christopher Breney), the new New York Gallery employee who handles Dalí’s work – at a party: a decadent gathering held in the middle of the afternoon, in the suite of the St. Regis, The Spanish artist resided every winter for 20 years. Among the potential and adorable commentators, Alice Cooper (one of the most famous celebrities at the moment) hardly caused a stir. Like everyone out there, he’s present because he cares about Dali.


bottom line

Genuinely entertaining and eye-opening.

place: Toronto International Film Festival (presentation ceremony)
spit: Ben Kingsley, Barbara Sokoa, Christopher Breney, Robert Graves, Alexander Baer, ​​Andreja Bejic, Mark McKenna, Zachary Knatchbar-Sycle, Avital Lvova, Suki Waterhouse, Ezra Miller
Director: Mary Harron
screenwriter: John C Walsh

1 hour 44 minutes

or his wife. James was sent here by Christoph (Alexander Baer) of the Dali Gallery to bring Dali’s Gala bag full of cash, and asked her to expect something else as well. A woman with “the libido of the eel,” added the beautiful boys to the couple’s entourage as freely as he added the women—although, unlike Salvador who was allegedly celibate, she actually slept with them.

James is warned not to refuse her advances without hurting her feelings, which is less difficult than it would normally be, as Gala gives her body and heart to Jesus: namely to newcomer Zachary Nashbar-Sycle, Jeff Fenholt, who currently plays Christ. in Jesus Christ is a star.

Clueless Jeff is here for comedic relief and social intrigue, but his presence also allows Aaron and screenwriter John C. Walsh to shed light on Dalís’ creative/business partnership. In their early years, Salvador drew the drawing while Gala did the grueling work of finding buyers. She built him but didn’t share his glory, especially after Hollywood embraced him and sarcastically asked why he married an old lady.

In Jeff, she has another fetal artist to patronize, albeit her genius is only visible. While her current obsession may be cartoonish, the film is quiet but totally serious about her wounded pride and unknown importance to the art star’s career.

And Salvador does not lose sight of its importance. James bears witness to a partnership of deep mystery, in which betrayal seems to mean nothing but small moments of tightly controlled disrespect. Kingsley is unforgiving as Salvador recounts the beginning of their romance.

While speaking to James, the two are transported to the rocky coast where the couple met: When the young painter sees Gala for the first time from afar, the astonished Miller works hard to build the right look for casual artistic flair, then walks up to the young woman and she instantly collapses into hysterics. Daly says that in his youth he was subjected to “many horrors and strange fits of laughter”. But Gala did not see him as crazy. This fact alone might explain his loyalty and needy devotion, after half a life.

James began working as an assistant painter, with Christoph tasking him with making sure he was doing enough work for an upcoming show. Between his routines and purposeful conversations, he gains a deeper understanding of this small ecosystem from its other inhabitants: Captain Moore (Robert Graves), who serves as Gala’s secretary and (unfortunately) understands their finances better than anyone else; Salvador’s current muse Amanda Lear (transgender model Andrea Bejic), who has been rumored, “was he” when they met; and Genesta of Suki Waterhouse, who accepts that in this world it’s just “jewelry”, something “nice to party” but ultimately unimportant.

(Ginsta and James have an affair, which is a key part of his introduction to urban evolution. But Amanda will eventually offer the most sympathetic views of Dali’s unconventional lifestyle.)

The portrait’s perspective and narrow temporal focus help avoid many of the familiar resume pitfalls. We are only on this trip for the time it takes to produce work for this important exhibition, and then briefly retreat to Spain in the wake of its failure. Wide-eyed but not naive, Briney makes James smart enough to accept inconsistent new parts of the picture without buying every justification that was handed to him.

The film’s focus on James is one of the many things stopping him Dalyland From becoming exposed to the taste of awards for one great performance. And he’s in luck, because while Kingsley is funny, engaging, and utterly convincing, Sukowa meets him on every level, and he has enough (very) screenplay sympathy to steal the movie from him at times. Sure, the movie makes this marriage look as cool as any Salvador Dali canvas or sculpture—and makes the carnival around the couple, however essential to their dynamism, seem tame by comparison.

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