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Cast

Credited cast:
Gérard Rudolf ... Carlos Vegas
Nadja Brand Nadja Brand ... Amber Jade
Rest of cast listed alphabetically:
George Birkenshaw George Birkenshaw ... Carl Sykes
John Ashley Cole John Ashley Cole ... Julian Lewis
Eric Colvin ... Adolf
Damon Driver Damon Driver ... Lindy
Stephen Evans Stephen Evans ... Davey (Pigsy) Sykes
Jim Inwood Jim Inwood ... Norman Sykes
Susan Painter Susan Painter ... Jeanine Sykes
Jodie Shaw Jodie Shaw ... Sam Sykes
Philippa Stevens Philippa Stevens ... Tara Lewis
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Country:

UK

Release Date:

26 August 2001 (UK) See more »

Also Known As:

Delirio de sangre See more »

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Color:

Color
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User Reviews

 
Worth a second glimpse
17 June 2002 | by MC66See all my reviews

Yeah, I saw Dust at the FrightFest, too. I left with a headache tortuously far into the trippy bits. I know you get square-eyed at that Festival anyway - but this one went a long way to knocking me sideways good and early in the afternoon.

It was hard to follow - partly because of the fuzzy, Betamax projection and a somewhat loud, overly pumping soundtrack, which obscured key dialog. It didn't help that it screened in tandem with an empty, slick, self-consciously "Hey, kids, we're hip, too" C4 telly production about sleep deprivation that was, mercifully, as brief as it was irritating. Half an hour of that started the Exodus. I was ready to follow. But I guess something in the opening of Dust kept me in my seat.

From early on, there were bits that made me laugh out loud despite - or, as has been said, perhaps because of - a cast of unlikeable characters you thoroughly wanted to die. I was pleased to get away from it, but: something about the framing, the use of colour, the wacky jump-cuts and flash-frames; the sheer unpleasantness of the protagonists - perhaps sympathy for the half-wit, Pigsy, and his lovelorn, oafish brother - nagged me long after the rest of the film had faded in the back of my mind like one of those nine-hour, nightmare coach-rides from Newcastle.

Mason – and Jonty Acton (co-director of ‘13th Sign', that had screened fuzzily at the previous FrightFest) – seem to have a way of doing that. On the surface, you've just watched a half-finished, cliché-ridden, un-thought-through movie. Underneath, though, someone has tweaked your psyche in a nasty way – the sadist learing back at you behind soft, rosy, middle-class assurance – like Ronald Searle cartoons in the Sunday Times; or a Cohen Brothers movie set in Rickmansworth.

So when a friend insisted on showing me his pre-release DVD copy last week I was not totally out to resist. Viewed on telly - letterbox format – chillin out with a can or two of Stella, it suddenly came into its own. The picture quality was sharp, the sound quality clear - bassy, rather than booming - with a catchy soundtrack. And suddenly I got the point: I was watching TV. Despite the credits, this film wasn't designed to compete with cinematic masterpieces like Blood Simple, for example; or 'Henry, Portrait of a Serial Killer' (the latter was unfaultable but, let's face it, who actually rushed to see it again? Please don't give them my phone number).

It starts in the style of a kitsch TV movie already veering wildly off-course – as though the casting department and crew of Ballykissangel had just been introduced to PCPs. Set alongside your average peak-audience telly specials with the neurotic housewives, the balding detectives, the period-costumed soft-porn that fashionably debases our greatest literature, it would stand out a mile. Even compare it to those formulaic Lock-Stock spin-offs. Something DIFFERENT happens. And it's funny. And it is, in fact, very well shot. Yeah, there's still too much mayhem in the middle for my taste, and the hillbilly music gets a bit trying in places – but then the noise stops, and Mason leaves you with an almost wistful pastiche of some sixties European Film-Noir. And you get that creeping sense (probably false), that perhaps there was something more to it after all - and maybe you should watch it again, someday, just in case.

It's definitely not Paranoid Celluloid's masterpiece, which – yes - I believe is yet to come (rumours are of a Director's Cut and Sequel to 13th Sign next under commission from transatlantic distributors). But independent film-making it is. And - for any telly movie - that's a singular achievement. I guess people around the world will be tuning into this one on cable at four o'clock in the morning after Inspectors Morse and Frost, Monarch of the Glen, and the conceivers, producers and performers of BBC2's Crime and Punishment or ITV's lugubrious Forsyte Saga, are long-buried.


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