Social Commentary on Little Ashes starring Robert Pattinson
Frederico García Lorca and Salvatore Dalí
May 11, 2009
Little Ashes, an independent film written by Philippa Goslett and directed by Paul Morrison that was released to limited theaters throughout the US on May 8, 2009, was inspired by the friendships shared amongst three of the most influential Spanish artists to be born from the revolutionary winds that were sweeping through the streets of 1920’s Madrid --- brilliant writer Frederico García Lorca, filmmaker Luis Buñuel and the deranged, yet genius painter Salvatore Dalí.
A Summary of Little Ashes
Beginning in 1922 Spain, the film sets the tone of a country that is fighting against the free thinking notions established in other parts of the world, particularly Paris, which advocate individuality, a deviance from established tradition and social and political revolution. Thrust into the heart of this turmoil, unbalanced on the edge of inevitable change, are three revolutionary-minded students that originally come together in the bond of friendship and unconsciously begin to inspire and motivate each other through their work in order to attempt to attain a rallying for freedom that cannot be denied.
A brief mention of the renowned writer, poet and playwright, Oscar Wilde, also helps to establish the lack of social acceptance for homosexuals of the day. Regardless of birth, rank or status, homosexuals are harshly dealt with, resulting in imprisonment, even death, for the illegality of their actions. However, underneath all of this social unrest and torture lies the burgeoning relationship sparked by the meeting of two gloriously exceptional minds, Lorca and Dalí, and the story of the journeys they take to reach their ultimate ends.
Big Actors in Little Ashes
This movie is being marketed based on the current star power of Twilight’s Robert Pattinson, and thus the film’s center of attention has become focused on the character of Dalí. This is a great injustice, because although Pattinson is exceptionally well suited for the role of Dalí, the film’s actual primary character is Frederico Lorca, portrayed by Javier Beltrán. From the opening sequence, which volleys back and forth between Dalí’s point of view from an approaching carriage and a third party shot observing Lorca and various others, the viewer is immediately drawn in by Beltrán’s silent command of attention, constituted through his aura of sophistication and unspoken demand of respect.
Naming Beltrán as the foremost protagonist is in no way meant to undermine Pattinson’s acting, which was stellar in comparison to the deplorable screenplay he and the others were forced to work with; however, it is meant to draw attention away from his involvement in the project and onto another promising, young actor. Given the right material to work with, Beltrán will certainly reach a status synonymous with, if not one to surpass that of, his current contemporaries, undoubtedly affording him the choice to utilize his acting abilities in a far more lucrative manner.
The film sports very few highlights other than the acting; however, a beautifully shot water scene that is performed so perfectly it nearly looks choreographed warrants mentioning. It concentrates on trails of bubbles left in the wake of hands and legs moving underwater and manages to capture the symbolism of both the characters and the point in history being illustrated in the film --- opposing views that merge in order to become one, happening fast and strong enough to cause a quake, but not enough as to permanently alter the overall composition of the larger structure. Unfortunately, this also seems to be the fate for this film, but nevertheless the actors deserve their due.
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