If it weren't for this film, I wouldn't have known about this history of Dalí, and in fact my knowledge of Dalí is only a superficial part. I am afraid that many people can't compliment this paranoid and crazy genius, but I am afraid that no one is not attracted by the shocking surrealism style in his paintings. He has a humorous beard that is upturned, his eyes are piercing and aggressive, he speaks wildly in pursuit of a unique personality, he is a genius, a lunatic, and a scheming urchin. . . But at the beginning of this film, I saw another side of Dali that was little known in his early years: handsome, shy, pure, feminine, and melancholy. . . When he got out of the car, he was dressed in retro 18th century aristocratic attire (a white shirt with lace collar and cuffs, a gray suit, long leather boots, and a black top that covered the ears with short hair hat) to the consternation of the students in the university who were wearing short hair and suits at the time. One is his strange retro clothes, and the other is his shy, uneasy gaze. It was then that Lorgar noticed him, and silently watched this beautiful figure for the rest of the time. Of course, Dalí and Lorgar's love affair was based on mutual admiration and admiration. They adored each other's talents and nurtured the flowers of their love in the free ideals and passions of the college campus. The love between two men in the moonlight, in the middle of the water, on the rocky cliff by the sea, in a simple studio, seemed extremely pure, without the slightest sense of obscenity and guilt. It was the coincidence of two people in the spiritual realm, the sympathy of two lonely souls after they collided. ——"I saw you staring blankly at the stone statue, you were afraid of being alone... Walking on the street, I saw the emptiness in your heart, riding a bicycle alone in the dark. Through that wall, I saw through Your heart. Let us meet in the golden hour of darkness. It is the light that covers our eyes, not the darkness. It is love and friendship that brings us together." - García Lorga.
If it was just a pure friendship, maybe they wouldn't break up in the end. It is hard to imagine that Dali's "no boundaries" outlook on life and art would shrink back when faced with Lorgar's emotions at that time. In the end, he chose to escape due to the discrimination and intolerance of homosexuality in the society at that time. The result is regrettable. If there is really "no boundaries", we should break through the shackles of gender to pursue sincere emotions. Because emotion is the cleanest piece of pure land in human nature. Spain was at war at the time. Dali went to Paris at the persuasion of his classmate and friend Louis, and made a grand show in Paris. Lorga, however, was reluctant to leave Spain, a land with deep feelings for him. When Luis persuaded him to leave Spain and go to the free country of Paris, Lorgar said: "What do you want to be free in a free country? It is here that changes are needed." This sentence moved me deeply, Lorre The difference between Ga and Dalí is also highlighted here. Dalí realizes himself by chasing fame and fortune, while Lorgar chooses to sacrifice himself to accomplish himself. Obviously, the latter has the humanistic sentiments of poets and the noble sentiments of intellectuals, which is convincing and admirable, but it is a pity that he was shot at the olive grove when he was only thirty-eight years old because he pursued the freedom of the people and opposed the civil war. . .
In addition to the painful love story between Dalí and Lorgar, this film attracted me to the actor Robert Pattinson who played Dalí. I had seen his performance in "Twilight" before, and I thought he was a commercial-packed star, which didn't attract my attention at all. But in this play of Dali, he unexpectedly showed Dali's split personality to the ground. - An introvert, shy, conservative, sensitive, neurotic; a crazy, arrogant, publicity, weird, paranoid. With his dress, eyes, smile, movements and the frenzied state of his paintings, Robert Pattinson presents the inner transformation of the characters with great detail. The director seems to deliberately give a reasonable explanation for the split between Dalí's two personalities, that is, the madness of the frustration between Dalí and Lorgar. Because we saw in the play that Dali and Lorga still miss him after eight years of separation, and hope to cooperate with him to develop in the United States. Lorgar was disappointed with the success of Dalí, and the two had opposite political views. In the end, Lorga's evaluation of Dali was only four words: "He is a genius"!
Finally, the title of the film "LITTLE ASHES" originally meant "Little Dust", which was the name of a painting by Lorgar for Dali. It is intentionally translated as a little ashes here, and there is a poetic review of this history. Perhaps this memory was only a small part of Dalí's glorious life, but he hid it to the end of his life. It can be seen how much Dali cherished it. . .
View more about Little Ashes reviews
