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Certainly one of the most lauded of international filmmakers, Pedro Almodovar’s films can be notoriously hard to arrive by on the US market. Generally after an initial release, they have gone out of print and have disappeared from mainstream buying outlets. It seems curious, Almodovar is easily one of the best known and most acclaimed Spanish filmmakers in history. Having been recognized worldwide, been honored by the Oscars, and having worked with stars that have crossed into the English language film world such as Antonio Banderas and Penelope Cruz–you would consider that his films would be more readily available. So, it is with delight that I welcome “Viva Pedro”–a collection of 8 films that indicate the vivid and dynamic world that is Pedro Almodovar. And while not a complete showcase of his larger work–I lament the exclusion of “Tie Me Up, Tie Me Down”–there is distinguished to rejoice. This plot is mountainous for lovers of Almodovar, and priced moral for unique viewers who wish to glean some very considerable films at a reasonable cost.
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Starting with films from the leisurely 80s, Almodovar uses intelligent imagery and melodramatic acting to beget some very personal films about cherish, desire and sex. Often done in an over-the-top, almost soap opera style, these films are instantly recognizable due to Almodovar’s distinctive visual flair. All three films from the 80s showcase a young Banderas. “Matador” is a sly dim comedy featuring an ex-bullfighter who ties death and killing with sexual excitement. “Law of Desire” is a seriocomic glimpse at sexual desire and obsession that crosses various gender lines. And “Women On The Verge Of A Nervous Breakdown” was Almodovar’s international breakthrough (and Oscar nominee for Foreign Film) that manages to be a madcap and nasty comedy and an insightful character sight.
The middle films include “The Flower of my Secret”–perhaps my least celebrated in the set–about a novelist who wishes to change her life at any cost. “Live Flesh” features Javier Bardem and Penelope Cruz in a complex narrative of how violence and sacrifice can link people together. Both films are racy, if not altogether successful.
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And the last three films of the plot showcase a more former side of Almodovar. The Oscar winning “All About My Mother” starts with a son’s tragic death, and takes the fabulous Cecilia Roth on a spiritual breeze that redefines life and her plot in it. “Talk To Her” tells the narrative of two men who bond while their girlfriends lie in comas–this won Almodovar an Academy Award for Screenwriting and a Directing nod, as well. And “Abominable Education,” with Gael Garcia Bernal, is an homage to Hitchcock examining the results of religious upbringing and sexual abuse.
Of course, anyone who knows Almodovar knows that these brief descriptions do nothing to highlight the complexity of these films. All of the films gain entertaining characterizations and the draw the various characters interact, combat, and collide is a showcase for the genius that is Almodovar’s writing. Wildly laughable, wickedly tragic, confrontationally sexual–Almodovar is an adult filmmaker working at the top of his game. Please treat yourself. Not every film is perfect, but this spot in an superb primer to the necessary work of a major writer and director. It’s not to be missed. KGHarris, 01/07.
Obviously anyone with more than a passing interest in Almodovar will want this location, which averages out to a fair decent notice considering what you net. Marvelous news first: Matador and Law of Desire, the two new-to-DVD titles, ogle edifying (especially the latter), and are practically worth picking up the plot for by themselves. (Too terrible Sony couldn’t have released ‘em separately; oh well.) Unpleasant Education, Flower of My Secret, Live Flesh and Talk to Her are identical to the previous releases. The serve of the box touts unique digital remastering for Women on the Verge of a Nervous Breakdown and All About My Mother, but both of those are botched fine badly. Women frankly looks dreadful, especially compared to the previous MGM release; it’s severely overcropped on all four sides (satisfactory luck trying to read the credits) and intention too quick-witted, with artificial sharpness and serious desaturation on the colors. All About My Mother does seek a bit cleaner and crisper than the previous release, but it’s bare bones; bear on to the older Sony release for all the extra goodies. The box is very aesthetic and comes with postcard replicas of the theatrical posters — a nice touch. The bonus disc features some decent featurettes with various actors talking about working with Pedro; unfortunately, only the trailer for Volver is included as an additional bonus.
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