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Talk to Her 2002 |
Review by Jonathan Cornwell |
Directed by Pedro Almodovar
R, 116 min. (nudity, sexual content, some language) |
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Starring: Javier Camara, Dario Grandinetti, Leonor Watling, Rosario Flores, Mariola Fuentes, Geraldine Chaplin
Producer: Agustin Almodovar
Screenplay: Pedro Almodovar
Cinematography: Javier Aguirresarobe
Distributor: Sony Pictures Classics
Released: 11.22.02 (Limited)
(In Spanish with subtitles) |
Rating:
  (out of ) |
Pedro Almodovar's films have always been strange creatures that eventually coax the viewer into a world that, as it becomes
clear, is like a tonic for today's mundane, conventional films. In his films Tie Me Up Tie Me Down, Live Flesh,
All About My Mother, and now Talk to Her, he has explored relationships in bizarre, weird, but always
enchanting ways. While Talk to Her is probably his most accomplished (and most conventional) film to date, he
still finds ways to strike the nerves of uneasy audience members at unexpected times. While sex has been the
center of his past efforts, here, while certainly present, it's more muted, more a supporting theme than anything outright.
The film also has the rare task of focusing on a close relationship between two men even though the film seems to be
about women. The result is raw, unfettered emotion that captures the depths to which a true friendship can reach. It's
a study of how two heterosexual men can care deeply for each other, without pandering to cliche-riddled tripe.
These two men are Benigno (Javier Camara), a nurse who cares for comatose patients, and Marco (Dario Graninetti),
a journalist. They meet in a private hospital when Marco comes to care for his now comatose girlfriend, Lydia (Rosario Flores),
a graceful bullfighter who was gored and trampled. Benigno cares for Alicia (Leonor Watling), a ballerina who used to practice
across from his home in the city before an auto accident that also left her comatose. He has dedicated his life to her
constant care, which includes bathing, massaging her muscles, and talking to her as if she were merely asleep. Both
Lydia and Alicia are not expected to ever awaken, but Marco and Benigno are devoted to their care anyway. Eventually they
become close friends out of necessity since they need someone conscious to confide in, but when Marco discovers Benigno's
troubling past (he is a virgin and cared for his mother for 20 years, and used to stalk Alicia) he begins to worry about his
mental state. And when Benigno is charged with an unthinkable crime, Marco comes to his rescue, albeit a bit late.
Almodovar takes great care to flesh out these characters; he seamlessly weaves between past and present, tying the
stories and relationships with Marco and Lydia and Benigno and Alicia with graceful skill. We come to know the women quite
well, especially since the story focuses on the men, who find solace in each other's company. Almodovar explores man's
ability and willingness to take on normally feministic sensibilities when their care is needed for unspecified lengths of time.
We see them care for these women, especially Alicia, who Benigno treats as his wife to be - he declares his love for her
not only in actions but in words as well. Even though there is something geniunely creepy about Benigno, we forgive his
missteps because he is a loving, vulnerable man. That Marco sees this and comes to his aide is a surprising theme in a time of
coarse intolerance of other people's weaknesses.
Talk to Her is both comedy and melodrama, a perfect symbiotic blend of wit and irony. At times hilariously funny,
at others shockingly outrageous (as evidenced by a short silent picture fantasy that defies belief), the film never loses its
focus on the intense relationship between its characters. The film is bolstered by dreamlike cinematography, which
makes the transition between past and present effortless and convincing. Almodovar's use of vibrant colors, specifically
during the bullfighting scenes, brings a sense of poetry to the proceedings. He balances the themes of sympathy and loyalty
with a soft touch to ease the turbulence of the material.
The performances are heartbreaking. Javier Camara gives the necessary uneasy feel to the character of Benigno, a man
struggling to find his own identity after a emotionally-stunted youth. He is both immature and honest, but has trouble
understanding the bounds of love. Dario Graninetti's Marco is world-wise and somewhat hardened, but is soon melted by
the childlike faith of Benigno's worldview. Graninetti brings a deep sense of humanity to a character that seems to have
lost his way. Leonor Watling, who spends a good deal of time nude, strikes a nuanced performance though her character
is unconscience for most of the picture. Finally, Rosario Flores brings about the film's antithesis - a woman who works
in a man's world.
Talk to Her is a patient, unforced film. It uses a building collection of memories and sophomoric attention to detail to its
advantage; in the end we are touched without knowing it, that is until we begin reminiscing on what we've just experienced. The
power of the film comes from its simple demeanor coupled with a hidden complexity between emotion and love that
binds its characters in a web of loyalty. Although easy to watch, Talk to Her challenges one's sense of morality when
confronted with situations that beg for forgiveness. That Almodovar seeks to confront these issues is a mark of a
filmmaker who isn't satfisfied with past success; indeed, one gets the feeling he's just getting started.
© 2002 Jonathan Cornwell
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 | Masterpiece - Film perfection |
| Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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