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Filmmaker Jack Bond and Salvador Dali got together at Christmas 1965 to make Dali in New York, a highly entertaining film. Dali devoted two weeks of his life to creating extraordinary scenes for the film, performing “manifestations” with a plaster cast. A thousand ants and one million dollars in cash. When he confronts the feminist writer, Jane Arden, sparks fly. "You are my Slave! I am not your slave. Everybody is my slave.”
Dali recalls his meeting with Freud, “The last human relationship ever” About his wife, ‘But for Gala I would be lying in a gutter somewhere covered with lice” Jim Desmond's dazzling cinematography captures the great artist painting as Flamenco virtuoso Manitas de Plata performs. Dali in New York is a rare treat for anyone who loves film and the living theatre of Dali’s surreal universe.
| Catalog Number: MC-764 |
Type: Feature |
Genre: Documentary |
| Copyright: 1966 |
Length: 57 minutes |
Format:
DVD Region: 0 (All) |
| TV System: NTSC |
ISBN: |
UPC: 635961106722 |
| Label: Sunrise Pictures |
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Films In Compilation
Dali in New York directed by
Jack
Bond
USA,
Art / Artist,
1965,
B&W,
Magnetic Stereo,
00:57:00
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2008-07-22 Detroit Metro Times
By Jason Ferguson
This 1965 film by Jack Bond comes across as the height of casual salon-borne iconography. Brimming with proto-psychedelic flourishes and post-Beat Generation cool, Dalí in New York is a portrait of the surrealist at the peak of his popularity, not to mention self-assuredness. Dalí is supremely aware of his image as an artistic provocateur and seems determined in the film's several "interview" sessions (which are more like charged roundtables where the artist swats down various criticisms and misinterpretations of his work) to make good on his reputation as a weirdo. The painter's canvases during this period shared this self-aware sense of "weirdness," and it's interesting that most of the works Bond chooses to show throughout Dalí in New York are from the previous decades. Dalí by this point is much more concerned with a sort of postmodern presentation of himself, and the various pieces of performance art he undertakes in the film — lip-kissing Michaelangelo's David, covering himself in dollar bills and ants — are more the actions of an aging huckster than a paradigm-smashing visionary. It's never clear if Bond himself was in on the joke, or simply enraptured by proximity to Dalí, but the film that he created with Dalí's cooperation does as much to lionize its subject as it does to ridicule it. Which is probably something Dalí would have heartily approved of.
| 2008-06-19 The Guardain
By Nance Banks Smith
Dali off the cuff is outrageous and the exceedingly stylish film moves like an express train.
| 2008-06-19
By Andy Warhol
A truly terrific film.
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