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Filmmaker on the Verge of a Major Breakthrough
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15596 |
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Section : |
THE ARTS
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| Issue
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2 / 1989 |
2,319 Words |
| Author
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Lawrence O'' Toole
Lawrence O'Toole writes for Entertainment Weekly and a number
of other national publications. |
Pedro Almodovar has come along at just the right time. No other phenomenally interesting new film director has emerged during the last decade, so the critical establishment and the discriminating public have embraced his work with gratitude, notably his latest, Women on the Verge of a Nervous Breakdown. Almodovar's work is quirky and insouciant, and he's steeped in both film lore and the cultural iconography of the past--particularly the late fifties and early sixties--an era he adores. His sensibilities are not only camp, they're clever; and they're also unapologetically gay. This does not mean they are not utterly accessible to mass audiences in his own country and abroad.
Almodovar has been the breath of mischievous air in post-Franco Spain--a comer, representing a country from which not much has been heard cinematically since Luis Bunuel. The North American cognoscenti have a soft spot in their big collective heart for a relative underdog whose culture seemingly leans to the exotic. Therefore it comes as no surprise that Almodovar's work, as substantial and delightful as it is, tends perhaps to be somewhat overrated. The patrician film-going public wants a new film hero, and Almadovar has been elected.
Brisk Farce
A bright-as-a-penny farce that moves with briskness and brio, Women on the Verge of a nervous Breakdown is Almodovar's best film, which isn't to say his most interesting. The earlier and flawed Dark Habits, What Have I Done to Deserve This?, Matador, and Law of Desire, with their fantasies of erotic violence, are far more fascinating. They are also more disturbing: In them, sex and death are constant bedfellows, a
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