FILMBRATS - REVIEWS

Enrique Goded is a cult movie director. He brings the weird and off-the-wall stories you find in the back pages of the paper to the big screen with reckless abandon. However, he’s struggling to find an idea worthy enough to use for his next feature. Enter Ignacio. Ignacio and Enrique were childhood pals. They did everything together, and I mean everything. That is until the Priest at the school discovered them and got extremely jealous. Ignacio has written a script based on his life during school and a fictionalized version of what happened in the two young men’s adult lives. Could this be the movie Enrique’s been looking for, or will it all hit too close to home?

Writer/Director Pedro Almodóvar comes at us again with his atypical approach to filmmaking. The films he makes always take on this cheesy B-movie quality. The acting is usually over the top and the story starts relatively normal then veers farther into ridiculous territory as time goes on. The movies are also usually graphic and crude. This film is virtually no exception. The cult aspect is definitely there, and the camp value presents itself in the storyline eventually as well. However, there are certain qualities that don’t match up to the norm.

First is Gael García Bernal (“Y Tu Mamá También,” “The Motorcycle Diaries”), who plays a triple role astonishingly well. There’s great balance between his primary character, the person in the flashbacks, and the person he’s portraying in Enrique’s movie. There are obvious differences and various approaches given to each role he takes on. Contrast to that Fele Martínez (“Open Your Eyes,” “Talk to Her”) as Enrique. While he and the other actors aren’t wincingly bad, they certainly don’t show off nearly as much range as Bernal, and tend to be more stagy and transparent with their performances. I can only assume this is all deliberate, because Almodóvar is that kind of director.

The other thing missing is the graphic nature and the nudity. This is the most toned down NC-17 film I’ve seen so far. Yes, there are indications of homosexual relationships. Yes, there are even sex scenes. But nothing is shown. There is the whole pedophilia issue, but once again nothing even remotely scandalous is actually put up on the screen. In a way, it’s disappointing. What’s the point of having a rating associated with carnality if it’s not taken advantage of? As a straight male in a healthy relationship I say bring on the male nudity. Audiences have proven they can take it in such films as “The Dreamers” and “Young Adam.” Now, this rant isn’t solely directed at the film. Even though I’m sad to see that some of the explicitness I’ve come to expect from Pedro’s work is missing, I’m also sad to see that the film was probably unjustly given it’s misleading adult rating.

Almodóvar’s films are not bad; they’re just given that illusion. He doesn’t go to the extent that Guy Maddin does, but Pedro’s films still require a little getting used to. The cinematography by José Luis Alcaine looks beautiful and fills the emotional gaps the acting leaves behind to paint a more complete picture. If you haven’t liked Almodóvar’s previous work, this one shouldn’t be any different. However, if you have an open mind, can handle subtitles, and want to see a stunning film with a great performance, then give this film a shot.

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