Sonhos Que o Dinheiro Pode Comprar

A strange attempt to bring the work of surrealist artists to a wider public. The plot is than an average Joe (Jack Bittner) can conjure up dreams that will improve peoples lives. This gives an excuse to view sequences created by several artists, most of whom were living in the US to avoid World War II.

Of most interest for those wishing to seeing the various artist's work, such as Alexander Calder' Circus being animated. I saw the Museum of Modern Art Print and the colors were in poor shape - the blue was almost gone.

I went on a long, hot walk around surprisingly dope Kansas City. Back at home base, I felt delirious, so I decided to return to Richter's Dreams That Money Can Buy.

It had been a while, but I can now say that you do NOT need the help of sun-drenched lunacy for this one. Perfect just as it is.

If there's any fabula, it's that bureaucracy sends people over the edge of mirrors, into bouquets of sterilized flowers resting in the dreams of others.

Really, it's all about the digesis: "Let memory of mortgages, loans and property sales // dissolve into the cries of nightingales!". Obviously you're watching this in part for image, but the VO and script shouldn't be overlooked. Alternating between a crisp, white sound, in the manner of 1950's instructional films, and other more slippery and sensuous words, voices and jazz numbers, sometimes there's singsong-y rhyme, often there are jabs at structure in favor of chaos ("Sign, sign every dotted line! What's the difference? You'll never belong to anything anyway.").

This is really a nice experience. Show it to hot friends and cool strangers.

The Avant Garde movement is not one that I follow, or know too much about, though I had seen some work by Duchamp at an exhibition in London once. However, I'll try very nearly anything and so when Dreams that Money Can Buy came up on Film 4 very late at night, I had to give it a go.

I could not find a separate listing as to which director did which part on the IMDb, but I have to say that I only really enjoyed two segments - Duchamp's 'Discs' and the last one, 'Narcissus' by Hans Richter. I really liked the geometric patterns and shadows of the masks and things in Duchamp's and the overall operatic, Gothic feel of Richter's, which had some great visual flair.

I persevered with the others and whilst I could see definite skill and talent in many pieces, they weren't really "me". My score is probably nearer the 5.5 mark than 6, but I'm rounding up slightly. Apologies to all who love this work, but with an alternative and rare film such as this, it's always going to divide opinion - and I did give it a go!

The British Film Institute have re-mastered the film from an original print and have released it on DVD with some Richter shorts, a very good booklet and an alternative soundtrack by the band The Real Tuesday Weld who have been performing live to it for the last three years.

It looks amazing but remains one of the most underrated art films of the last century. It's difficult to know whether its imperfections (particularly in the editing and soundtrack) are a result of a low budget or carelessness or were intended / happily included by the director. Proclaimed by David Lynch as his favourite film (He pinched the title 'Ruth Roses and Revolvers from it), it is not an easy watch and sadly is probably destined to always be for the cognoscenti. This is a film - not a movie - and whilst not completely successful as a piece of art, it pushes the boundary of film and narrative.

This quirky surrealist film follows the adventures of a dream seller as he supplies dreams to his mixed clientele.

The dreams were created by various artists, and the quality and style varies. Max Ernst comes the closest to creating something with a real feel for dream logic involving the saving of a woman, although it was a little slow. Richter also comes close with the final, blue-faced sequence. Marcel Duchamp and Alexander Caldwell, on the other hand, both contribute simple movement pieces, although Caldwell also offers a somewhat interesting stop-motion circus scene.

The most interesting piece is by the one artist I've never heard of, Fernand Leger, a clever musical piece involving mannequins.

Avant-garde works being what they are, you probably wouldn't know this was made in 1947 if you weren't told, as filmmakers today will go for a retro style. It's a mixed bag, but I'd say it's worth watching if you're interested in surrealism.