Even the weirder artists of the twentieth century have been attracted to the allure of Hollywood filmmaking, and Salvador Dali was no exception. In the fall of 1941, the surrealist painter hosted a masquerade party at Pebble Beach during one of his regular visits to the town. Called "Surrealism Night in An Enchanted Forest," the fundraising event, intended to assist European refugee artists, brought out a number of stars, including Bob Hope and Ginger Rogers. It was here, the story goes, that Dali became attached to a major studio production called Moontide. The great German emigre Fritz Lang was hired to direct the movie, and asked Dali to create a three-minute nightmare sequence for the film. Unfortunately, after the incident at Pearl Harbor later that year, Twentieth Century Fox deemed the project too bleak. Lang was replaced, and Dali's nightmare sequence went with him.

Although inspired by the movies, Dali didn't always have the easiest time making them. He would get another chance to inject his hallucinatory vision into American cinema with the hypnosis scene in Alfred Hitchcock's Spellbound, but it's his unrealized projects that truly indicate the scope of the painter's ambition. So many ideas, such little time. Dali: Painting and Film, a breathtakingly unique exhibit currently on display at the Museum of Modern Art in New York, surveys Dali's completed cinematic works in addition to tidbits from the ones that never came to fruition. Marvelously structured to show how his paintings were intentionally cinematic, the exhibit contains all the obvious highlights from Dali's movie career alongside lesser-known productions. The importance in film history of his collaborations with Luis Bunuel remain uncontested; two large screens in separate rooms showing Un Chien Andalou (where the opening eye splicing retains its original gross-out impact) and L'Age D'Or attest to that. Fewer visitors, however, might know about Dali's collaboration with the Marx Brothers on a deliriously strange movie that sounded too good to be true.

Hey, remember the weeks and months approaching the recent writers' strike, when all of Hollywood panicked and began rushing projects into production and feverishly coming up with contingency plans? Have you wondered why the looming Screen Actors Guild strike and the ongoing SAG/AFTRA catfight have not really provoked a similar hysteria? The New York Times' answer: because producers are calling SAG's bluff.

Or, in the Times' more tactful language: "the film industry's needs have overwhelmed any conviction that actors will actually walk out." That's its explanation for why big, expensive productions like Terminator Salvation, Transformers: Revenge of the Fallen and Angels & Demons are steadfastly forging ahead despite the risk that a strike will send most of their casts off the set, leaving them with half a movie.

Could just be hubris, or willful stupidity. I haven't followed the recent guild developments closely enough to be able to speak with any authority on whether there will be a walkout any time soon. But look: the idea behind election markets (for example) is roughly that the best way to forecast the future is to see where large numbers of people are willing to put their money. That this time Hollywood bigwigs -- in particular, many of the people who will have a say in the outcome of any contract negotiations -- don't seem to be blinking in the face of a possible strike suggests to me that we aren't heading toward one, or at least not a protracted one. If we are, then it looks like a lot of people are going to be out a lot of money.

A couple of people have been griping about Wall-E director Andrew Stanton's refusal to admit that his cute little movie about a robot in love actually contains some pretty upfront green politics, but there's a far more polarizing reference in the film than its harmless pro-environment agenda. It's no major plot spoiler to reveal that, about an hour or so into the story, Fred Willard appears in a recorded message as the mysterious president of Earth's corporate government and orders the ship's captain (Jeff Garlin) to "stay the course." Wait, we've heard this one before: It was the go-to statement used by the Bush administration for about three years or so when describing its modus operandi in Iraq (the term was abandoned when staying the course started to sound like a bad idea). In Wall-E, the context is quite different -- it's an order to not do something, rather than take action -- but hard to ignore nonetheless.

Certain critics with (surprise!) conservative slants have taken issue with this. At Dirty Harry's Place, John Nolte expresses his disappointment in the first paragraph of his review: "Have we lost the wonderful studio who brought us The Incredibles and Ratatouille to Bush Derangement Syndrome?" he asks. New York Post critic Kyle Smith picked up the rant and decided to write his own, even though he hadn't seen the film yet: "This kind of crack, lame as it is, also breaks the spell of the movie by hurling you out of the theater and back into reality."

When it comes to sifting through all actors responsible for portraying the most powerful man on the planet, there's no shortage of options. John Travolta did a great Bill Clinton impersonation in Primary Colors and Timothy Bottoms delivered a near-perfect imitation of George W. Bush in both D.C. 9/11: Time of Crisis and That's My Bush! Neither one comes across as particularly flattering, so presidential nominee Barack Obama has chosen a safer bet: At a recent party in Los Angeles, Obama revealed that he prefers Jeff Bridges' conflicted commander-in-chief in The Contender. Granted, he may have said this simply to keep his audience happy -- in this case, Contender director Rod Lurie, one of the attendees who was willing to plop down $28,000 for the event. "'I just plugged your movie," Obama told Lurie, according to a report the director sent to Hollywood Elsewhere's Jeffrey Wells.

Still, when you're under the kind of intense scrutiny that Obama currently endures, Bridges actually seems like a pretty safe choice. Choose Anthony Hopkins in Nixon and it sounds like you're endorsing the bad guy. Choose Kevin Kline in Dave and you come across as disingenuous. Choose Peter Sellers in Dr. Strangelove and somebody will call you incompetent. Bridges, on the other hand, plays a fierce leader bound to his moral convictions. Of course, Obama also expressed sympathy over Lurie's short-lived television show Commander-in-Chief, which featured Geena Davis as the first woman president. Perhaps it's no coincidence that he and Hillary have publicly made amends.

I know that studio attempts at "viral" internet marketing are a dime a dozen these days, but you should watch this. It's funny.

Swing Vote, due August 1st, presents the wildly improbable scenario that a United States presidential election comes down to one politically apathetic New Mexican's choice, leading the candidates -- an incumbent Republican played by Kelsey Grammer and a Democratic challenger played by Dennis Hopper -- to converge on his tiny hometown and court like they've never courted before. The obvious marketing hook: a campaign ad! Actually four of them, two by each candidate, all targeting Kevin Costner's Bud Johnson. My favorite one is above; the rest are here and here.

I like these because they're done with some nuance; I particularly enjoyed the parodies of real-life candidates' disingenuous tendency to "swing to the middle," decimating whatever convictions they previously claimed to hold to pander to "moderate" swing voters. The folks behind these videos take that to its absurd conclusion, of course, with the Republican uncomfortably embracing gay marriage and the Democrat haranguing his opponent about not being pro-life enough. The latter's the video I've embedded at the top of the post -- it cracked me up.

[hat tip: Cinema Blend]

Yesterday's New York Post contained a gossip item in Page Six taken from the book party for James Rosen's The Strong Man: John Mitchell and the Secrets of Watergate in New York, where attendee Tony Danza expressed an interest in playing Richard Nixon aide H.R. Halderman -- maybe in a movie version of Rosen's book. Halderman, who died in 1993, worked for Nixon as White House Chief of Staff until the Watergate scandal landed him eighteen months in prison in 1973. His story, partially recounted in The Strong Man, involved a longstanding relationship with Nixon going back to the 1950s and the tense moments immediately before and after the president's resignation. In between, he was involved in a botched attempt to assassinate Fidel Castro and other tumultuous events dutifully recorded in Halderman's diary, which became available to the public years later.

Many political scandals often revolve around a single corrupt individual, but it's the right hand man whose story can be most revealing. (Roy Cohen's personal drama has way more twists than that of Joseph McCarthy, for example.) There's little doubt that Halderman's experiences would work well on the big screen, but this wouldn't be the first time: IMDb lists no less than five actors who have portrayed Halderman, including James Downing in The Pentagon Papers, as recently as 2003. Would Danza make sense in this role? And will any film have a chance at getting people interested in this story after Frost/Nixon nabs the spotlight later this year?

This isn't exactly film news, but it was too odd not to share with Cinematical. I honestly thought it had originated at The Onion, and not with the AP!

On Tuesday, George Lucas testified before the House subcommittee on telecommunications and the Internet. His intentions were really very admirable, as he was arguing in favor of reforming the universal service fund, which provides Internet and telephone access in rural, low-income, and high cost areas of the country. Lucas is passionate about education reform, and he testified in favor of making Internet access "a digital civil right," that is free to schools and libraries.

While his intentions were good, the saga of Lucas and the subcommittee quickly became downright goofy. Several lawmakers took advantage of Lucas' appearance to crack Star Wars jokes. Rep. Mike Doyle declared "The universal service fund needs to be blown up like the Death Star," while Rep. Lee Terry compared himself and fellow Representative Rick Boucher to Luke Skywalker, and their opponents to Darth Vader. Our tax dollars at work, people.

Well, well. Here's some welcome news. After this year's much balleyhooed disaster with the Best Foreign Film Oscar noms -- recap: lauded Romanian Cannes winner 4 Months, 3 Weeks, 2 Days somehow didn't even make it onto the Oscar shortlist -- The Envelope's Mark Olsen reports that a rule change has been voted in for next year's event. Now, I don't like to get too worked up about the Oscars -- it's such an insidery, backpatting schmoozefest of the "You're great!" "No, you're great!" variety -- but last year's foreign noms really pissed me off.

I wasn't as enarmored of 4 Months, 3 Weeks, 2 Days as many of my fellow critics were, but even so, it's a masterful, tensely drawn piece of filmmaking, it won the Palme d'or and gave critics worldwide a collective cinematic orgasm, and it damn sure deserved not just to be shortlisted, but to make the final cut of nominees. That it wasn't nominated was a travesty, and confirmed the ongoing suspicion of many in the film community that many of the people in the Academy who are charged with making decisions around foreign film noms are a pack of drooling idiots.

There's no way around it: Dwayne "The Rock" Johnson owes at least some of his fame to the way his dominating figure fits the blockbuster action stereotype with near-mechanical sleekness. However, he also offers an alternative to that reductive perspective. Looking sharp in a business suit and speaking with the relaxed professional discipline of a CEO, Johnson showed up at a screening of Get Smart on Sunday at the CineVegas Film Festival displaying sheer confidence. The screening took place at the Planet Hollywood Resort and Casino, where Johnson had recently acted in Race to Witch Mountain ("We just added to the chaos," he said), but on this visit, Johnson got a chance to remind people that he's not just a one-note performer, but someone who plays an active role in the international film community (not to mention the health community, since The Rock Foundation pushes obesity prevention).

Outside of his supremely meta performance in Richard Kelly's Southland Tales, Johnson has made his interests in adventurous cinema increasingly clear, and boldly champions independent artists. You can get a small glimpse of this aspect of his personality in Operation Filmmaker, documentarian Nina Davenport's account of an Iraqi filmmaker named Muthana Mohmed whose aspirations tragically fall short of the expectations surrounding him. Landing the opportunity to work for Liev Schreiber on the set of Everything is Illuminated, the 25-year-old Mohmed grows increasingly frustrated with the boring tasks given to him, and continually blows opportunities as a result of his unbalanced work ethic.

Almost two full years ago, Russell Crowe was looking to star in the big-screen adaptation of Michael Stanton's The Prince of Providence, which was being helmed by Michael Corrente. Since that time, Crowe is out, the project is still in the works, and as The Hollywood Reporter posts, it might be getting itself a serving of Robin Williams.

The script, which was written by David Mamet and polished by Howard Korder, focuses on Mayor Vincent "Buddy" Cianci, a corrupt politician "who dominated Providence's political machine for 21 years." There's no word on who Robin Williams will play if his scheduling works out, but Oliver Platt will take on the role of Cianci (quite the change from Crowe), and be joined by the likes of Dermot Mulroney, Adam Goldberg (Ronnie Gantz), Bradley Cooper (Haxton), and Ed Burns.

All of the actors sound great, but it will be even better if Williams officially signs on. After so many questionable films in the last handful of years, it would be so very nice to see Robin stretching his acting chops again. Production will begin later this summer in Rhode Island.