There is an original drawing of Dalí's painting that hints at the theme, named "Little Ashes" by Federico Lorca, another hero in the film, who is also a real Spanish poet in history. It is said that Dali's inspiration is also this man.
The subtitles at the end of the film read: After Federico's death, Dalí has always denied the relationship between the two people, until he was old, he did not admit the origin and early years, the deep friendship.
Compared with the other biographical film "Fur" (a fictional film about American female photographer Diane Arbus) that I have seen recently, I appreciate this one more. How much of the film is fiction? I say no Good, but the overall feeling is logical and clear, and the cause and effect are clear, so people can accept this kind of fiction, and some of the director's point of view and life inspiration can be drawn from it.
There are actually three protagonists in the film, the painter Salvador Dali, the poet Federico Lorca, and the director Louis Buñuel. The three were once students, roommates, and close friends of the Madrid Residential College (Residencia) known as "Spanish Oxford University".
In my opinion, when dealing with the relationship between these three people, in addition to referring to history, the director has mixed some symbolism into it.
Salvador Dali (Robert Pattinson) is a painter whose style was dominated by Cubism when he first entered the academy and gradually turned to Surrealism. Dali, who just appeared, was shy, clumsy, and inarticulate. Buñuel strolled into his room and told him, "It's a mistake to be low-key here." He stepped into the social circle of radical youth that included Buñuel and Lorca, he attended underground parties and watched satire Catholic puppet show at that time. He began to let go of himself gradually, made radical speeches, chanted "Long live the revolution", and made crazy moves. Of course, the craziest thing of all is to fall in love with Lorgar.
The original Lorca was the most conservative of the three. Lorca came from a wealthy family in Andalusia, the southernmost city in Spain. Lorca was often ridiculed by Buñuel because of his wealth and manor economy. But at a banquet, Lorca, inspired by Dali, recited an emotional revolutionary poem to the full house of nobles and generals. A seed of fire, a seed of love and admiration, ignited this forbidden love.
In those days, in such a Catholic autocratic country, everyone knew what it meant to be gay. But they still fell in love. On the quiet coast by the Mediterranean Sea, in the middle of the river where the moonlight is soft in the dead of night, in the promenade with the breezy night, in the colorful theater rehearsal room, they cuddle with each other, and their souls comfort each other through their bodies.
I have to admit that this forbidden love, and the peach affair of a historical celebrity was handled very beautifully by the director, with a little less eroticism, and it looked very decent and romantic under the vast and wild scenery of Spain. And the pace is very suitable, making people feel that the love between two people is deepened with artistic pursuit and soul fit. He is his muse, and he is his.
Buñuel, the most aggressive of the three, the most Spanish, was a very warm red. He debated regimes with others in cafés, organized gatherings of radical youth, and fought shirtless. Buñuel was very aggressive, and he dreamed of going to Paris to realize his artistic ideals. Before meeting Dalí, he and Lorca were inseparable friends.
However, there seems to be an inevitability to his parting ways with Lorca: Buñuel pursues the wider world, while Lorca prefers to return to his native land. "I don't like new shoes," Lorgar said.
I think a lot of people are confused about the abrupt end of Dalí and Lorca's love affair, and it made me frown at first. "I'm going to Paris with Buñuel." Leaving these words, Dali left in the dark night. The intimacy that used to be indistinguishable instantly vanished. Lorca was stunned, before the screen, we were stunned. that's it? This is the end?
He was expelled from the house by his father in his early years, and Dali's character has a feminine temperament. He refuses to have sex with Lorca, revealing a vague fear of masculinity and sex. At heart, Dalí was an avant-garde artist who practiced Freud's theory with painting. Those delicate paintings that flowed from the subconscious, unrestrained geometric shapes, blurred colors, and disillusioned themes, Lorca saw the richness and cowardice in his heart. This is why Dali fell in love with him. However, Dali was not satisfied with this. Maybe, I guess, maybe, Dali pursues more, just a kind of maverick way of life. Homosexuality was one of the ways of "maverick" at that time. When the relationship became stable and mature, he began to retreat, and he chose to leave. Maybe, maybe, when he left, there was something in his heart for Lorca: fearing that their love affair would bring unforeseen events to Lorca. Maybe.
Eight years later. Buñuel became a film director, Dalí mingled with Parisian surrealist painters, and Lorca became an active pro-democracy writer.
Dalí and Lorca meet in Madrid. At this time Dalí had a mustache in his typical style. However, meeting doesn't mean everything will get better. It is even said that this encounter made their love go from being unable to let go to destruction.
Some time later, on the eve of the Spanish Civil War, they met again. At this time, he was ostracized by the Parisian Surrealists, and he was a democratic activist beloved by progressives. Dalí wanted to start working together again, and wanted to go to the United States with him to do plays, but he sternly refused. At this time, Lorca could no longer stand Dali's pretentious and crazy artistic pursuit. Love is ashes, only ashes remain.
Dramatically, a woman was present at both reunions. The first time was Margarita, a college friend and progressive female writer. Margarita and Lorca have sex in front of Dalí. What a ridiculous scene. Dalí curled up in the corner, sobbing and masturbating. When they got here, their love was as distorted and pale as this absurd scene. There is nothing to redeem the soul that has long since drifted away.
Perhaps because of this decision, Dali switched to Buñuel, and the two worked together to make a movie called "The Dog of Andalusia".
The woman present for the second time was Dalí's wife, Carla. Carla is a mature and feminine woman. The dinner was fairly peaceful, except that Lorgar finally walked away. Carla was at least right about showing that Dali, who was pro-fascist, didn't really care about politics. Dali is like a never satisfied child, he wants all the flowers and applause in the world, but he is so cowardly and shy, and he doesn't want to take responsibility. This time, it was their last meeting.
Dalí's future is always in the distance, the future that vaguely reveals a beautiful shape, the psychedelic and dazzling Paris, the United States, and perhaps more. And Lorca's future is in his homeland, in the vast land of Spain, in Andalusia, where the fragrance of olives and grapes is permeated, and the sun shines all over the land. The future they pursue is two parallel lines, and the entanglement of the past is just an illusion.
The ending is rather ironic, which makes people hide their faces.
The most conservative and respectable poet ever was arrested by the authorities in his home and shot in secret in the wilderness. The white clothes are like snow, and the blood is everywhere.
The most radical director was sitting in a cafe smoking a cigarette with the progressive youth of the past, chatting and laughing.
The painter who had been the most unforgettable lover was painting in a simple room. Hearing the obituary on the radio, grabbed a black ink brush and frantically blackened the canvas in front of him.
What kind of fiery love has turned into what kind of remorse and regret now, after all, just before Lorca was taken away, he was flipping through the letters they had exchanged, and he was picking up the receiver, but unfortunately, on the other end of the phone, only Empty beeps.
Once missed, heaven and man will be separated forever.
You can see the beginning, but you can't guess the ending.
Love has been embers, the ground is red, the west wind blows cold ashes, blowing into the eyes, and unstoppable tears well up.
Lorca is the disillusioned butterfly of Andalusia. And Dali is the lonely dog of the dark night. In the final scene of the film, he painted his face with black oil paint, put on a black cape, and shouted "I'm here!" home direction.
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