Con’s Score: 4.5 Dragons
I’m not normally a fan of stories about the pain of artists. They feel self indulgent and the audience doesn’t really care. But here we have a gaunt looking Antonio Banderas, playing the director, Pedro Amoldovar, looking handsome, without looking for any pity, as he pours his heart out in all its pain and glory.
It’s well structured. The first act is about Salvador (Banderas) old and in constant back pain and a mix of migraines, reconnecting with an actor, Alberto Crespo (Asier Etxeandia) he had a falling out with, when their old film is being revived. Thirty-two years heals some wounds. In return Crespo introduces him to ‘chasing dragons’ ie heroin. Salvador repays the favour by giving him a monologue to perform.
It leads to the second act, where through the monologue Salvador reconnecting with an old lover, Federic (Leonardo Sbaraglia), who’s now married with two boys. It inspires him to give up chasing the dragon and tend to his health. He discovers a painting from his childhood, which brings back memories of his first desire Eduardo (César Vicente).
This leads to the third act, reflecting on looking after his older mother, (Julietta Serrano) who is a scream. There seems to be a bit of a confessional tone to it all, but it’s treated with warm humour.
All through this we’re treated to a flashback story of young Salavador (Asier Flores) and the struggles of his mother (Penelope Cruz) who accepts living in a cave to give him an education. It’s where he first meets Eduardo.
You know you’ve experienced cinematic magic when the final scene brings gasps of joy from the audience – the kind you hear when you look at a beautiful piece of art. This is such a tender film.
Anthony Banderas justly won a best actor award at Cannes for this. It’s his finest work. He is restrained but conveys so much with just a shuffle. Penelope Cruz plays the young version of his mother; she isn’t extended, but she’s still very good, as is Flores as the young Salvador.
The other player who is constrained here is Almodovar. The colour palette he uses is still there, but it’s a darker shade of red. He still tends to every scene as a picture, but it’s not as garish and as bright as his other work. It’s still art on a big screen.
This is part autobiography and possibly a swansong. Artists aspire to be this good and this film says so much about what it takes to be a great artist: Honesty. Simple honesty… and then he plays a trick on us, but that’s alright, as this is one of his finest. A beautiful film.
Con Nats, On The Screen
