Talk:Destino

Untitled

In response to the request for Peer Review, good work, just check the recent changes for what to improve. Above all, never, ever use a "!". -- user:zanimum

The link to the Star-Telegram article is a dead link. This should be re-linked or taken out. -Bxm 18:14, 23 April 2006 (UTC)

How can I get a copy of this? If some one knows, you should leave a comment on my talk page. --The_stuart 16:19, 24 November 2006 (UTC)

Financial considerations

I recall hearing around the time of Destino's release that Disney was granted rights to the relevant Dali works only if the film was actually made, and one of the reasons for the eventual production was to retain those rights. However, I recall no sources on this point. Does anyone have additional information? Jeremy Tobacman 15:25, 20 August 2007 (UTC)

Distribution

When and where was Destino distributed? I first saw it at a showing of Triplets of Belleville. Jeremy Tobacman 15:25, 20 August 2007 (UTC)

You can watch this on YouTube, although I don't know if it's complete. Also, someone edited this and used it as a music video for Cynic's "Space For This", it's pretty great. —Preceding unsigned comment added by 96.26.243.56 (talk) 07:46, 31 October 2009 (UTC)

Translations of Destino

The list of languages where Destino exists is not helpful:

Destino (the Galician, Spanish, Portuguese and Italian word for "destiny")

I propose to delete all but Spanish, on the basis that Dalí was Spanish/Catalan.

Also, Google Translate says that destino means destination in Catalan. However, as the plot seems to be more about destiny than destination we should not mention this. Verbcatcher (talk) 20:41, 10 May 2014 (UTC)

Surrealist film?

@TheOldJacobite: As the film was a collaboration with Salvidor Dali and is basically an animated incarnation of his surrealist painting style, I'm not sure how it can be argued that it has "no connection to the Surrealist movement". Any thoughts on this? Kaldari (talk) 22:27, 2 November 2014 (UTC)

Dali had been ejected from the Surrealist movement before he began work on that film, and working with Disney would certainly have been regarded as proof that he was no longer working as a Surrealist or an artist allied with Surrealist concerns. Is there any reputable source that argues that this is a Surrealist film? ---The Old Jacobite_{The '45} 22:41, 2 November 2014 (UTC)

Dali was expelled from the self-described Surrealist Movement in about 1939. (Is this the same as the Bureau of Surrealist Research?) But this does not mean that he stopped being a surrealist artist. He continued to paint in the surrealist style, using its themes and motifs. Would you argue that a Dali painting with a melting watch from 1931 was surrealist, but one from 1950 was not? Destino clearly has a connection to Surrealism, and is an example of Surrealist cinema. Verbcatcher (talk) 04:04, 3 November 2014 (UTC)

I found a few potential sources:

• A Vernacular Vanguard: Surrealism and the Making of American Art History: "Even to follow the trajectory of Dali's own experience with film—which led him from the avant-garde Un Chien Andalou (1929) to the dream sequence of Alfred Hitchcock's Spellbound (1945) and finally to the posthumously-realized (and Oscar nominated) Disney-produced Destino (2003, begun in 1946)—parallels the transitions that the reception of Surrealism as a whole has undergone in art history and mass culture."
• Dada & Surrealism For Beginners: "While the Hitler fetish was baffling, modern readers might be startled to learn that Dali also collaborated with Walt Disney. It sounds, well, surreal—our modern-day associations with Disney are... cute. As anyone who has seen Dali's work could attest, his work was not 'cute.' What would such collaboration look like? [image] The project was abandoned due to an anticipated lack of public interest. However, it was released in 2003 under the name Destino and won various film awards. And so it was that Dalí 'outsurrealed' the Surrealists, including Breton."
• Pacific Standard Time: Los Angeles Art, 1945-1980: Chapter entitled "Southland Surrealism": "Hollywood was certainly effective in introducing surrealism to postwar America at large. After fleeing German-occupied France, Salvador Dalí spent eight years in the United States. Dalí was in New York for most of this time, but his frequent visits to Los Angeles were fruitful: he undertook commercial collaborations with Alfred Hitchcock in 1945 and Walt Disney in 1946."

Kaldari (talk) 04:35, 3 November 2014 (UTC)

More sources from highbrow newspapers:

Akbar, Arifa (19 January 2007). "Mad about the movies: What Salvador Dali saw in the cinema". The Independent.

The storyboard was written by Dali himself in the 1940s, and this animation film contains dream-like images of mysterious flying and walking figures. The plot focuses on a woman who undergoes surreal transformations - her lover's face melts off, she transforms into a dandelion, ants crawl out of a hand and she becomes a group of Frenchmen riding bicycles. What Dali called his "paranoiac-critical method", or the linking of irrational images, such as his melting clocks and trompe l'oeil effects, is clearly recognisable throughout the film.

Conrad, Peter (20 May 2007). "Hold on to your popcorn. This is cinema as Dali thought it should be". The Guardian.

The six-minute film features eyeballs in dinner jackets, a wall eroded by the sands of time and a ballerina's head that turns into a baseball.

Canemeker, John (7 September 2003). "The Lost Cartoon By Disney and Dalí, Fellow Surrealists". New York Times.

Dalí's signature incongruities dominate the film; there are crawling ants, colossal statues, shadowy vistas, a baseball ballet and, of course, melting clocks. [...] Directed by Dominique Monfery, this remake closely follows Dalí's original storyboards, a symbolic exploration of the joy and pain of adult amorous relationships with constantly metamorphosing images that have the elusive quality of a sensual dream.

Verbcatcher (talk) 05:51, 3 November 2014 (UTC)

Two more. I can't vouch for these websites, but they appear to be academically rigorous.

King, Elliott H. (15 July 2014). "Hallucinogenic Celluloid: Salvador Dali's Soft Self-portrait & Destino".

As with many "surrealistic" films, the plot of the completed Destino is difficult to convey, though fans of Un Chien Andalou will recognize a swarm of ants emerging from a hole in a man’s hand – reflecting Dalí’s 1920s interest in putrefaction and recalling the same swarms of ants that attack the soft clocks in The Persistence of Memory.

Barbagallo, Ron (2003). "The Destiny of Dali's Destino".

The finished film unites Dali's surrealist vocabulary to animation and includes five of Dali's original paintings.

Verbcatcher (talk) 06:26, 3 November 2014 (UTC)

The two previous editors have presented ample evidence that a broad range of critics consider the film to be surrealist in style. Dali's "official" status in the Surrealist movement is largely irrelevant, though his formal expulsion could be mentioned as a parenthetical aside, at most. Thank you for finding so many references; please add some of them to the article. As noted in the head, the entire article could use some more specific footnotes, beyond the paltry two refs at present. Reify-tech (talk) 15:13, 3 November 2014 (UTC)

In view of Reify-tech's comments and in the absence of a further response from TheOldJacobite I will reinstate the Category:Surrealist films. Verbcatcher (talk) 21:17, 18 November 2014 (UTC)