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Dreams That Money Can Buy (1947)

6.8
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Title: Dreams That Money Can Buy (1947)

Dreams That Money Can Buy (1947) on IMDb 6.8/10

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Cast

Credited cast:
Jack Bittner ...
Joe / Narcissus
Libby Holman
Josh White
Norman Cazanjian
Doris Okerson
John La Touche ...
The Gangster (as John Latouche)
Rest of cast listed alphabetically:
Herb Campbell ...
A man - hands
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Storyline

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Certificate:

Approved
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Details

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Release Date:

28 March 1956 (France)  »

Also Known As:

Rêve à vendre  »

Filming Locations:


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Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

An experimental film shot for $25,000 in a Manhattan loft. It opened in New York in March, 1947 and went on to win the Venice Film Festival Award for the best original contribution to the progress of cinematography. See more »

Quotes

(singing on soundtrack): Oh Venus was born out of sea-foam / oh Venus was born out of brine / but a girl of today / if she is grade A / is assembled upon the assembly line
See more »

Connections

Featured in Cocteau Marais - Un couple mythique (2013) See more »

Soundtracks

The Girl with the Pre-Fabricated Heart
Lyrics by John La Touche
Sung by Libby Holman, accompanied by Norman Cazanjian and ? (name illegible)
See more »

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User Reviews

 
surrealism's greatest hits!
31 March 2007 | by (Canada) – See all my reviews

I spent my birthday watching this heretofore unknown masterpiece with a few non-filmie friends, who were also rewarded by the experience. First-wave abstract filmmaker Richter comes to America, picks up some noir affectations and calls it narrative: fedora'd lout in ratbag apartment sets up a business reading dreams for various clients. This allows just enough structure - and HUMOR, crucially - to draw the uninitiated into its tour of Surrealism's Greatest Hits. Man Ray, Max Ernst, Marcel Duchamp, on and on and on, Richter has assembled a powerhouse crew for his dream sequences, with the likes of John Cage on music, and the segments are varied, hypnotic, and hang together perfectly, from Duchamp's patented hypno-spiral shtick to a pipe-cleaner circus scene that reminds me of Allyson Mitchell. The color is great and well used, and Richter's own conception on the end sequence ties everything together perfectly. Furthermore, while it may not 'mean' anything, there IS a 'logic' to it, I swear, although I was having too much fun letting it wash over me to pursue it very far. These old men point toward a future that hasn't even arrived yet, but seeing it makes you want to join the project. I LOVE this movie.


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