Last Sunday I saw "Broken Embraces", the latest film by Pedro Almodovar with lovely intense Lena-Penelope Cruz. I've always loved this film from the look a little melodramatically crowds with his sense of grotesque black comedy and drama, with its time film sometimes dilated even so annoying ... I have to say, for a variety of reasons, perhaps because of intellectual laziness, lately I have left to escape the films of Almodovar. But this time I decided that I could not lose and as soon as I saw the posters, I rushed to the cinema ...
I would punch line of the character from the director no longer blind Hurry-Caine, the man who looks at the sea through the eyes of the heart, alias Mateo Blanco (perhaps the alter ego of Pedro?): "A film is still over, even in the dark ... " Someone trying to break at any cost the latest Almodovar (objectively instroncabile) explained the joke by explaining that clearly the intent and the correct starting point the director had been represented in "The Embrace broken "by the" dark turn "... In reality, the director offers us this joke with an apparently disparaging crack about life and human relationships. Life, just like a movie, to be built," mounted "day by day, because each circle can be closed at the end, because every link and every event can know its final realization. And, the melodrama, then, is conducted in "Broken Embraces" up to the paroxysm of insane and dell'insensato, the atmosphere-road is doing mock-yellow-thriller to come, at last, the banality of an accident without a reason and without a like for. Ladies and Gentlemen, here served
life ... The last kiss scene in slow motion before his death, a kiss and looked infinitely expanded by the protagonist, as if to convince themselves and will convince us that there may be links and passions that last forever (even though you know that "forever" does not exist, to use the deboluccio but at times moving, "Saturno contro" Fernan Ozpetek) made me think of a memorable scene and movie times intentionally and infinitely expanded, from one of the cornerstones of the romantic film, "Doctor Zhivago." The scene where Lara goes away forever look back on the sled and runs up and Yuri in the ice house to look away for the last time knowing that you do not see each other anymore ...
Before see the movie someone had told me that it was a difficult film, "heavy" (as the saying goes), a film about violence against women. But I am afraid it is not. This is a film of passions, their ability to give life to those who are now resigned, but also on their ability to turn into destructive elements. The passions that penetrate the lives of these three characters, his-hers-the-other, in a triumph of disturbing cliché, following her husband-not her husband who is stalking his wife on the set-not his wife (who in the backstage whispers his torment to the director-lover) but in this case, not satisfied with the images without sound, but the double by an actress (or speech therapist?) specially engaged, Reading (without pitch) the words through the movement of the lips. Lips that do not emit sounds, eyes blind mountain scenes in a movie without seeing them, looking for inconsistencies and deliberately carried out with a delicate touch but cruel at the same time, which are themselves the power and poetry of the film. And then, the citations of the great classics of cinema, and even of himself, especially the funny scene that mentions "Women on the Verge of a Nervous Breakdown", in "Girls and suitcases" in the final assembly phase, the film's revenge tycoon Ernesto duty to finish even in the dark. In the background, a question mark on the power of cinema and its ruthless laws. Cinema and life.
Finally, a question that inspired the title of the film: there are hugs that you can not break, the bonds that can not be dissolved? ... Probably not, but maybe we prefer to imagine (or pretend) that there are ...
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