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Patrocinado por
Dalí redivivo
por Vivianne Loría
Lápiz. Revista Internacional de Arte nº 205, julio 2004
Número de páginas: 2
The relevance of the music has actually been a distinctive trait in Disney's complex animations. In fact, Destino was inspired by a melody by Mexican composer Armando Domínguez, which Walt Disney used to imagine the musical plot for the short film. Based on Domínguez's composition, with lyrics by Ray Gilbert and performed by Dora Luz, the producer aimed to create a kind of audiovisual love poem. Perhaps choosing Dalí as the designer of the sequence arose from the idea that his surrealist aesthetics, vulgarly interpreted as dream-world aesthetics, would provide a suitable restless and dreamlike atmosphere.
After working for months, the project was abandoned in 1946 due to budgetary problems. Decades later, a team of French drawers and animators was employed to complete it. Based on a comprehensive storyboard , about twenty paintings and over 130 original drawings by Dalí, the team attempted to create Destino exclusively using "old" animation techniques, working frame by frame implementing traditional methods, and including eighteen seconds of original material filmed by John Hench -member of the Disney Studio who worked with Dalí on the development of the project. That attempt to preserve the supposedly original spirit, already lost irremediably, seems to want to bestow the short film with a halo of Disney "classicism," producing a déjà vu effect on the spectator , delighting in a retro atmosphere, emphasised by the melancholic 1940s melody that guides the action. Yet, the truth is that the team gave in to the temptation to use computer graphics to achieve the 3 d effect for a tower and to give some depth to the flat classical animation.
The plot, whilst its narrativity is forced to fit into the now anecdotic symbols of Dalí's iconography, is simple and direct, as would be expected of Disney animation psychology. It is about love, and it takes the shape of a dance performed by a female figure that emerges from the sand in an isolated location designed in a most recognisable Dalí style. The woman, who has the adolescent aspect and the large eyes of all Disney heroines, glides along ethereally clothed in a gauzy, romantic dress. A large stone pyramid in the middle of the strange desert displays a high relief, a faceless male figure leaning on a clock. The woman's dance incites him. She sees what looks like a sculpture, a male portrait, perhaps the incarnation of a romantic dream fade before her. She then goes up to a tower that houses strange tuxedo-clad eyes and her dress gets tangled and slides off her, leaving her naked, whilst she curls up in a conch. The stone figure strives to free itself of the chains representing the inexorable passing of time, symbolised by the clock and the stone... Life and love subjected to the strict ephemeral condition of what is human. She melts into the solitary shadow of a bell, borrowing it as if it were a dress. She and he look for each other, yet they do not find each other, separated by the stone, by the desert, by the vanishing or the aggressive growth of the ghostly architecture that surrounds them. The figure freed from the stone, the ants turning into cyclists with pieces of bread on their heads and the sculpture becoming a baseball player are all mutations that respond to the parallel metamorphosis the woman undergoes: she becomes a dandelion whose flower breaks off as easily as she turns into a bell. Two grotesque heads, ripped from their bodies at the neck, are carried by enormous turtles that transport them on their shells in the only original sequence filmed at the time when the project was designed. When they meet on the horizon, the space between the heads outlines the shape of the bell as if it were a ballerina, crowned by a ball that appears in the background, in the landscape. The baseball player's ball is the woman's head... Nonetheless, each movement is more confusing than the one before it, and although they move closer, they never get close enough. The adventure only leaves everything more or less as it was at the beginning. The man made of stone, the woman as a bell, both lost in a bleak desert.
In truth, this short film, that lasts approximately six minutes, recuperates the charm and ingenuity of the Disney products created in the 1940s, yet, as expected, its spirit and atmosphere are more closely linked to Dalí's pictorial simplism than to the dark streaks transmitted through the pencil sketches the artist drew to plan the project's strangest images.
Número de páginas: 2
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Página generada el Jueves, 9 de Febrero de 2012 14:45:50