Review of Broken Embraces (2009) by Bernard L — 27 Jan 2010

I have to confess that I am not quite knowledgeable in the previous creations of the supposedly brilliant director that is Pedro Almodovar. His films are considered to be art and having only seen one of his them - 'Volver' with Penelope Cruz â?? I am not quite in a position to compare it with his other efforts which have earned huge audience and critical favour, and virtually every award our cinema offers. 'Volver' bolstered Cruz â?? who is star of this picture â?? to her first Oscar nomination. Is this film as good and does it include as good a performance from our leading lady? No, for the simple reason that this film is nothing like it â??that said, it is quite richly executed and our leading lady is now part of a very fine ensembl, whose role is not as seemingly showy as her previous turn.

Almodovar, has confected his film with more movie references than you could shake at your hand, even if they are not that apparent. The film itself, about a blind screenwriter, Mateo, who once had a passionate love affair with a starlet named Lena, is something of a master class in movie-making and while it seems at times an epic jumble of overblown melodrama, indulgent direction and the always splendid Ms. Cruz, the film is rather enjoyable, if a little tiresome after a while.

The opening scene depicts Mateo, under his pseudonym of Harry Caine â?? a persona he created after he became blind â?? picking up a woman who helped him cross the street. This sparks disapproval from his agent, Judit; who, along with her son, Diego, is Harry's closest companion. We soon find out that a business mogul, Ernesto Matel, has died and this induces painful memories for Harry â?? which are only increased when Matel's son, a hapless 'documentary' filmmaker arrives, trying to flog his latest script. Some fourteen years previous, Matel Sr., had generously paid for surgery for the father of one of his secretaries (Cruz), a failed actress, who, in turn, became his mistress. Magdalena or Lena, as she is known, again decides to try her hand at acting and auditions for Mateo's latest film. As Mateo works with her on 'Chicas y maletas', their affair blossoms into a romance â?? yet it is doomed from the off from the jealous, control-freak and producer of the film, Matel, who becomes a domineering and cruel presence over our heroine. Harry recounts all of this to Diego, Judit's son, showing the audience the dark secrets and illicit affairs that have followed him for years.

The film explore a multitude of themes and issues, and one that is very prevalent in this film, is that of fathers and sons. Walking into the film, I did not expect such a theme or quite frankly, a film. My initial perception was that of another Cruz vehicle and much to my surprise, Cruz's role is not that of a traditional leading lady, but she is wonderful all the same in another eclectic role â?? funny, charming and affirming herself as one of our most luminous screen presences. However, this is clearly an ensemble picture.

Tthe film is very difficult to categorise as being of a single genre â?? its romantic, funny and inherently quirky (particularly during the 'movie-within-a-movie' scenes) at times and quite suspenseful in others â?? the music only contributes to the tensions of all the betrayals, sordid goings-on and Matel's deep jealousy of Lena and Mateo's love affair, and the pursuit and eventual blindness of our hero, that ensues. Alberto Igelsias penned the score, and quite frankly, I would pay into the film, to listen to it! It is a very pleasing film â?? aesthetically, at any rate - certainly a sensory feast and the performances are good â?? again, Cruz's role is much smaller than I initially thought â?? yet she shows her broad range, and flourishes once again under Almodovar's direction. Her performance is subtly heart-breaking and while it does not immediately ring award bells, she is splendid as is Lluís Homar as Mateo, and Blancilla Portillo offers a fine supporting performance as Judit.

The film slightly outstays its welcome at over two hours and it just seems to slowly die away at the ending, instead of a brash conclusion, which I felt would have been better suited to the film, or would have at least satisfied me. That said, when a director ceases to make movies, in favour of art, and stuffs his film with more allegories and metaphors than I have had hot meals its rather arduous for a run of the mill movie lover such as myself, to come to terms with it all. It certainly warrants a rewatch perhaps not in theatres but someday in the future when I come across this engaging piece from two of Spain's finest exports and experience it all over again.