The official Little Ashes premiere was on Sunday, May 3, closing the Miami and Fort Lauderdale's Gay & Lesbian Film Festival. We had Project Manager, Shannon McShane in attendence for the festivities and she was even captured in this photograph taken by the Miami Herald. (She's the eager red haired, Little Ashes fanatic sitting at the bottom right of the photo.) Allow her to enlighten you with her critique on the film.
- - -
- - -
How do you ‘review' a film that you've thought about every day for over a year? That you've promoted in every way you could, having never done anything like that before? I've been fortunate enough to correspond with some of the actors, the producers, as well as Paul and Philippa - director and screenwriter respectively. I mean, the anticipation...and the pressure!
Basically? I loved it. However, that's how I feel about it now. During the film, while watching it? I was enthralled. Moved. Completely captivated by everything going on.
Now, I don't know how to talk about this film, without talking about it. So, there will be ‘spoilers' and all that. Every single scene deserves its own review! However, as the official release draws near, I'll try to keep some things to myself, and allow all of you the glory of experiencing the greatness yourselves.
Little Ashes, as most Independent films are, was filmed on a small budget, but to look at it, to watch the cinematography and beauty in each scene, you would never know it. That distinction can only come from a great director. I'm sure Paul Morrison would say his job was fundamentally easy given what he had to work with: an amazing script by Philippa Goslett, actors who gave their all to do these historical figures justice, and the hundreds of others who put their time, energy, and money into the film. However, it takes the vision of the director to combine all of that, and more, to present such a masterpiece of cinema.
Before I delve into the subject that all reviews will touch on, (the actors) I need to talk about the underdogs of most film: The costume designer, Antonio Belart and the musical score composer, Miguel Mera.
Going hand in hand with the art direction, cinematography, and beautiful scene locations were the costumes. The perfectly tailored suits, the vibrant colors and subtlety matching the mood of every scene. It was as if every piece of clothing Belart carefully chose added a finishing touch to the emotion.
Likewise, from its most climactic arc to its softest strains, the music influenced every detail in the film. Some say that the best movie score is the one you don't take notice of, but I have long disagreed with that sentiment. To hear every note of the underscoring rise in the same rhythm of your heart, well...that's what Mera's beautiful compositions did for me.
Marina, Matthew, Robert, and Javier...the stars not behind the cameras. Marina Gatell's lovelorn Magdalena made unrequited love tangible. A memorable and bold performance. Matthew McNulty's performance as filmmaker Luis Buñuel was determined and agonizing all at the same time. His character's range of emotions tip the scales repeatedly, and just when you want to hate Buñuel, you can't help but feel for him. Matthew played every facet with ease and confidence.
Robert Pattinson's performance, as the "master of surrealism" Salvador Dalí, was by far one of the most challenging roles I've ever seen. I mentioned the range of emotion that McNulty went through in the film as Buñuel, but that doesn't come close to describing the extremes Robert took Dalí to. I'm (only a little) surprised to say, he pulled it off. I only say I was surprised because Pattinson has been built up so much that you have begin to wonder if he's capable of living up to the hype and the expectations. But here? In Little Ashes and as Dalí? Unquestionably so. And while Dalí was a little crazy, in this film he was also funny, and Robert played the comedy like an old pro having the audience erupt in laughter on numerous occasions. I have a feeling that at this stage in his life and in his career, Pattinson is only beginning to scratch the surface of his talent.
Finally to the star, Federico Garcia Lorca. Or should I say Javier Beltrán? There wasn't a distinction that I could see. Beltrán was Lorca, and he was phenomenal. The emotion that poured out of his eyes alone could capture the soul of every person watching his journey as Lorca. The depth. I can't wait to see what Javier Beltrán continues to do; and hopefully Spain will share him with us!
I suppose now it's time for best and worst of the film. There was one thing that I thought the film lacked. Merely, that it left me wanting more! Every scene, every year that passed could have had its own film, it's own story told. But to leave me wanting more? If that's the worst thing I could take from it, well, let's just say I'd rather any audience of mine leave wanting more as opposed to the alternative.
I've refrained from talking about the film scene by scene, outlining repeatedly why this and that specifically was so good. But I do need to speak of one of the final scenes, as it was my favorite and one of the most poignant.
As I mentioned, Pattinson's Dalí went to many extremes emotionally, internally. From shy and naïve to bold and inspired, then from broken and searching to hiding and masquerading. But it's after he learns of Lorca's death that the truth of who he really is deep down, is forever closed off and we see the Dalí that he becomes, transformed before our eyes. In this scene Dalí looks into a mirror after having broken down in despair onto his canvas of black paint. He sees his paint smeared face and my heart broke as he reached up as if to wipe the paint away, and instead smears it more, hiding more of his face. The mask is now in place, and the true Dalí gone with his lover's death.
Needless to say, tears were shed; and as the credits began, the thunderous applause that rose around me enveloped me. Captivated by the pain and beauty of what we had just witnessed, we knew that we would never be the same.
- - -
Little Ashes opens Friday May 8, 2009 in Spain, the UK, and the US; on May 22, 2009 in Canada; and on July 9, 2009 in Puerto Rico.
- - -
Blitz Review: Brittany
As a movie fanatic, I've been known to be both frank and honest as much I am known to be a tough judge on films. Nevertheless, here it goes...
After a two hour car ride from Sacramento to San Francisco in the Golden State of California and an additional hour of people watching and analyzing, my step mother and I entered the intimate and endearing Clay theatre to begin our cinematic adventure for the film I have helped promote via managing the content and articles for the Promotional Blitz. Synonymous to Shannon's position, I knew it was vital for me to enter the film with no expectations. After all, watching film clips, reading and posting early reviews, and advocating for a movie I had yet to see but have constantly been surrounded by for nine months would be a tough feat to enter without a biased mentality.
The production of the film was everything I had thought it would have been and with a minimal budget was quite extraordinary. The cinematography was beautifully complemented with the scenery of Spain. Fields of the countryside, the beach in Cadaqués and a stunning sunrise featured atop the roof of the Residencia de Estudiantes, all were marvelously taken advantage of. I have much appreciation for Paul Morrison's direction throughout the film; it was beyond anything I could have anticipated. There was this fantastic use of symbolism Morrison captured to illuminate Lorca's overwhelming sense of thought regarding Dalí via a Spanish bullfight that I found to be unique and captivating.
Many refer to the water scene in Cadaqués as being one of the more memorable scenes in the film and I really can't concur more. Though we've all had an opportunity to see it thanks to a clip that was released, it's one of those moments where you could admire its beauty and simplicity repeatedly, finding it enchanting each time.
The wardrobe was ravishingly refined. I loved the tailored suits that oozed class and sophistication, including Dalí's fitted pinstripe signifying his wealth and fortune. Dalí's comical and foolish ensembles prior to his fashionable conformity and Magdalena's peach gown were conspicuous and arresting.
Worthy of much attention and notice was the musical score. It had such a playful exuberance when Dalí released his idiosyncratic demeanor, it's tone morphed into a compelling melody during the more heartfelt scenes and appropriately amplified the Spanish ambience. The parts I felt to be most enamored by were the scenes Lorca demonstrated his musical inclinations playing the piano. The notes heightened the tone of the scene, especially the one that occurs during Lorca's abduction.
One of the things I felt could have been altered was the script. It wasn't so much the dialogue that left me perturbed, as it was the method of collectively conveying the story. There was no real concept of time. Besides a notification of "Six Years Later" towards the latter portion of the film, the events that transpired formerly felt as if it had occurred over the same year at the Resi. Only with notice of small elements, such as the year on a Dalí painting that hung in Lorca's room, was it evident that the storyline extended over a matter of years.
I also felt more details should have been emphasized. Unless you have knowledge and interest in the characters, including their historical backgrounds, it's difficult to fully understand the impact of the character's behavior and dispositions. For example, during the duration Lorca departed for America, he dramatically changed in attitude and transitioned into this stronger being. A slideshow of pamphlets from Lorca's plays and footage of La Barraca seems rather underplayed and undistinguished when all of those aspects are significant in exemplifying Lorca's persona.
As far as the actor's performances are concerned, I thought they all did a superb job. Javier Beltrán and Matthew McNulty really illustrated and depicted their characters to the utmost degree. Beltrán epitomized Lorca's charisma and psyche. Lorca's longing for Dalí, his tenacious attitude, and even his vulnerability was accurately portrayed by Beltrán. For an actor whose credits are minimal and unfamiliar, I found myself pleasantly surprised and contented with his representation of Lorca.
Over the months, I've read and had this perceived notion of who Matthew McNulty is. Nowhere in the film did I even regard Buñuel as McNulty. McNulty embodied everything Buñuel was. Buñuel's realization of Dalí and Lorca's relationship and the infuriation that inevitably followed was impressively exhibited by McNulty. You were able to not only sense the confusion and frustration of Buñuel, but you could feel it.
The same goes for Marina Gatell's Magdalena. One could easily decipher her love for Lorca, her feeble attempts at getting his attention and her surrendering to reality that having the type of relationship she wanted with him was impossible.
With respect to Robert Pattinson's performance, I have to mention that his portrayal of Salvador Dalí is anything unlike his other characters, including Daniel Gale, Art, and especially Edward Cullen. For those who are fans of his work, as I am, you simply must enter the film with knowing the differentiation between character and actor. This particular film is not for the faint hearted.
Aside from that side note, Pattinson's Dalí comedically shows just how ridiculous and bizarre Dalí must have been. As an actor, Pattinson went all out with complete disregard for withholding any and all outlandish behavior and expressions no matter how weird and odd it was. However, apart from displaying the meaning of eccentricity, he manifested a great representation of Dalí in the final scene. Just hearing of Lorca's death, Dalí goes entirely off the reservation, violently blackening a canvas with paint while getting it all over himself. When Gala calls to him from another room that he has company, he drapes himself in a black cape without cleaning himself up and resumes his outré façade as if nothing has fazed him.
Another much talked about scene is one where Magdalena initiates sexual advances towards Lorca and Lorca therefore submits, but only for Dalí's satisfaction of seeing him and Magdalena having intercourse. The yearning and desire of the love triangle hits its critical stage at this point. Lorca and Dalí's spark and intense connection become this overpowering entity as Magdalena's hope, optimism and confidence are shattered, leaving her utterly shamed and crushed.
As I indicated before, those who go and see the film strictly to see Robert Pattinson and are not somewhat informed on the lives of Luis Buñuel, Salvador Dalí, and Federico Garcia Lorca, will fail to considerably comprehend or perhaps even appreciate the story at hand. I was proved this point by not only my step mother, but also a couple of younger girls who also saw the film. The overall sense of the movie was easily identified, however on the way home, I was able to further elaborate on the lives of these three amazing artists and the historical backdrop of the storyline to my step mom. What first seemed like irrelevant details altered into something more substantial subsequent to my clarifications and explanations.
Regardless, in my opinion, Little Ashes is just as deserving of attention, acknowledgement and appreciation now as it was when we initially began this Promotional Blitz. The filmmakers and the actors accomplished quite a piece of cinematic art that should not be failed to be noticed.
- - -
Blitz Review: Victor
Taking advantage of his opportunity to attend a screening of the film, our Federico García Lorca enthusiast and connoisseur Victor, has composed his opinion of Little Ashes. In his review, Victor focuses on the film’s depiction of its main character and the very man who has inspired many people through his life and his individualistic prose.
I first met Federico García Lorca in a used bookstore back when I was a teenager. According to the introduction to the slim paperback collection of his early poems I randomly pulled out of a discount bin, Lorca had been just as terrified and self-loathing of his own sexuality as I was of mine, so I paid my fifty cents to the cashier and walked back home to languish in the closet (as was fashionable at the time) with my new best friend.
Thankfully, neither of us were in there for too long. I was drop-kicked into a brand new life where I didn’t have to hide anymore, and Lorca’s siblings finally died off, allowing for the gradual publication and production of his most revolutionary work, which had been denied and suppressed for more than half a century. However, it wasn’t until I began research for my series of biographical articles for the Little Ashes Promo Blitz site that I fully realized just how courageous and determined my old friend had been to fight the oppression of women and sexual minorities by consistently upping the ante of controversy with each play he produced, increasingly desensitizing the audience and repeatedly forcing them to confront their own bigotry and hypocrisy.
I’ll come right out and say it: the blunt honesty, openly and fiercely masculine sexuality, and utter lack of political correctness (undoubtedly easier to pull off back before GLBT politics were even invented) are precisely what I love the most about Lorca’s “impossible theatre.” Turns out he’d had a sizeable pair of cojones all along! Who knew?
Unfortunately, for all its good intentions, Little Ashes’ conspicuous lack of balls is what ultimately ruins it for me. Although I feel the widespread praise Javier Beltrán has received for his performance is well deserved, the Lorca written into the script is the intensely introspective, depressive, sensitive, deeply conflicted young man I had envisioned in my youth. The controversial nature of his works, particularly his later plays, is never broached, and his sexuality so muted we’d be forgiven for believing that, having failed to penetrate Dalí, he died a lonely virgin as there isn’t even a hint of any subsequent relationships. There is a single scene of him exhorting the patrons of a café to sign an anti-fascist petition, but with no indication where this fire of resistance has come from in him. His pivotal, life altering trip to the Americas, the subject of what is widely regarded as his most important book of poems, is only given two or three sentences, none of them revealing. It’s as if his entire, wholly remarkable life is being reduced to a single bad relationship with a painter whose infamy would go on to eclipse his hard-won fame, and that just doesn’t do the writer I have come to love any justice whatsoever.
Perhaps the most telling detail of this film is the fact that the only word uttered Spanish rather than its English equivalent is maricón (“faggot”). This has the effect of softening the sting of the word for monolingual English speakers, to the extent that the few overt instances of outright homophobia in the film might go unnoticed. The only exception to this, out of the dozens of times the word is used in the film, is after Lorca has been shot, while the camera is fixed on his still living face, we hear one of the firing squad remark “there’s only one way to kill a faggot!” Camera cuts to some wild grasses and we hear another shot ring out, leaving the audience clueless as to what that singular way might be, seeing as he’s already been shot once. That this film only vaguely hints at but refuses to depict the poet being “shot twice up the ass for being a fag” as his executioners would go on to brag has been described as “tasteful,” but I find it cowardly in exactly the same way as the usage of that slur is throughout the rest of the film – its political correctness keeps us safely one step removed from the brutal, dehumanizing nature of bigotry.
I hope someday a film comes out that gives Lorca his due, with as much fearlessness and scathing irreverence as his own finest works, but Little Ashes isn’t it.
|
Comments
It was so worth the wait wasn't it? I've been starting to doubt my memory, that it really can't be as good as I remember, but this review has restored my faith!