The biopic's real subject is Salvador Dalí's unconventional marriage to Barbara Sukowa's Gala, a woman who built the foundations of his career while adding a string of beautiful boys to their entourage.
Or his wife’s. James was sent here by Dalí’s gallerist Christoffe to bring Gala Dalí a briefcase full of cash, and told to expect her to want something else as well. A woman with “the libido of an electric eel,” she added beautiful boys to the couple’s entourage as freely as he added women — though, unlike the allegedly celibate Salvador, she actually slept with them.
In Jeff, she has another embryonic artist to nurture, albeit one whose genius is visible only to her. However cartoonish her current obsession may be, the film is quietly but completely serious about her wounded pride and her unsung importance to the art star’s career. As he speaks to James, the two are transported to the rocky coast where the couple met: When the young painter sees Gala the first time from afar, a gobsmacked Miller works furiously to construct the right look of casual artistic flair, then walks up to the young woman and immediately collapses in hysterics. In his youth, Dalí says, he was given to “many terrors and strange fits of laughter”; but Gala did not see him as mad.
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