Breathe, my fellow Almodovar devotees — the first reviews for “Broken Embraces” are in. While they’re not unqualified raves, it would appear that the master has pushed himself into new and challenging tonal and thematic territory, and the critics are duly appreciative.
Screen International’s Barry Byrne suggests that it will delight fans and befuddle others, but isn’t that usually the case with auteur works as singular and stylised as Almodovar’s? Extracts from Byrne’s measured take on the film (beware of spoilers, however):
The film is awash with references to the noir genre, Italian neo-realism and even to Almodóvar’s own quirky oeuvre. Stylistic nods to films including Nicholas Ray’s In a Lonely Place and Vincente Minnelli’s The Bad and the Beautiful form part of Almodovar’s valentine to cinema.
Fans of Almodovar will get plenty of what they expect here – rich saturated colours, hyper plotting, stylistic pyrotechnics and off-centre comedy. But there are carefully nuanced male characters too and the bleak, distant tone coupled with the unassuaged pain of the leads is a new departure for the director.
In the more successful first half of the film he elegantly pulls it off … (but) With the action moving ponderously towards a baffling denouement, we enter the terrain of high melodrama.
Variety’s take is along similar lines: Jonathan Holland is impressed and even a little overwhelmed by the film, though he’s not convinced that it all adds up:
Partly a film about films and partly a film about love, Pedro Almodovar’s “Broken Embraces” can’t quite decide where its allegiances lie. A restless, rangy and frankly enjoyable genre-juggler that combines melodrama, comedy and more noir-hued darkness than ever before, the pic is held together by the extraordinary force of Almodovar’s cinematic personality.
But while its four-way in extremis love story dazzles, it never really catches fire … Those who hoped the pic would extend the quieter, more personal mood shown in “Volver,” as the 59-year-old helmer moves into the late phase of his career, will be disappointed to find that “Embraces” is made not of flesh and blood, but of celluloid.
As I’ve said before, “Volver” struck me as a little too soft for Almodovar, so I guess I’m in the “celluloid” camp then — whether a complete success or not, this sounds like the kind of movie-movie that I wanted from him.
Interestingly, although she’s clearly the film’s main selling point for non-fans, both reviews pay only fleeting attention to star Penelope Cruz — it seems this may not be the solo star vehicle for her that “Volver” was. Holland praises her “compelling, subtle” work, but feels her character may be too oblique and emotionally removed to register with some viewers. So don’t cast that Oscar nomination in stone yet. (Not that we were going to.) In terms of crossover potential, this may well turn out to be more in the vein of “Bad Education” than “Volver” or “Talk to Her.”
I sense, however, that Rodrigo Prieto may well be one to watch for the season ahead: the great DP appears to have found a solid gold vehicle for his talents, and receives due credit from both critics.
Overall, however, these are but the trade reviews, and for potential arthouse darlings like this one, it’s the broadsheet critics that wield more influence. It’ll be a while before they weigh in — the film seems likely to crop up in Cannes, so I guess we’ll get more perspective then. For now, however, these offers a pretty tantalising taste.
Comments
13 responses to “‘A rollicking struggle, a joy to watch’”
I didn’t read all of Guy’s column (due to possible spoilers), but that trailer is is compelling.
Patryk, rest assured my column is spoiler-free, but the full reviews may have more information than you’d like.
I expected Prieto to be one to watch for this movie the moment that teaser came out. Divine.
Can’t wait for this movie. It’s a shame we have to wait so long, such is the Academy effect.
Almodovar is as overrated as sliced bread.
Sliced bread is pretty fucking amazing.
So is Almodovar.
Los Abrazos Rotos looks fascinating. Penélope Cruz is such an extraordinary actress. Almodóvar is such a wizard, portraying his amazing stories with that colorful and memorable style of his. The trailer left me in an indescriptable mood. I simply cannot wait to see it!
Barry Byrne here, from one of the above cited reviews. The review in Spain’s leading paper, El PaÃs, has been far less charitable than my own. Carlos Boyero’s scathing piece is titled “What have I done to deserve this?” In general, the Spanish reviewers are luke warm, with the consensus being that the characters were cold and distant, the dialogue flat, the script contrived. I think some have failed to grasp the noirish conceit. Some have probably seen plenty of noir pictures but dubbed into Spanish where the sonambulist delivery is replaced by a dubbed-in jauntier style. Almodvar is too clever for his own good, I fear. El Pais, perhaps feeling a little abashed, today published a glowing review (the newspaper crops up in the film constantly so they probably felt they owed him a break). I have a feeling that the reviews will be sharply divided in Spain, with little nuance. There’s already quite a Carlos Boyero backlash and I suspect he might even boost box-office figures. We’ll know over the next few days.
Almodóvar is, simply put, the best director working today.
I am trying to keep spoiler-free for this movie and in the meantime will see titles like Leave Her to Heaven, In a Lonely Place, Kiss of Death and The Bad and the Beautiful…
Part of what I love about Almodóvar is how he’s able to reference cinema in his own movies, from The Apartment in The Flower of My Secret to Duel in the Sun in Matador and beyond. Volver in particular is full of little nods to Mildred Pierce, Chinatown, etc.
As for the melodrama, I am sure I can take it if Pedro can dish it.
Barry: Thanks for extra context and information. Disappointing to hear it’s not going down all that well at home — is there any history of disconnect in the national vs. international reception for his films?
To Barry, EL PAIS do not owe anything to Almodóvar. Have u ever heard of product placement? Canal + (premium channel in Spain) is one of the financial figurres of the movie; C+ and EL PAIS belong to the same conglom (PRISA); so the synergies are very simple.
I do not agree most of the time w/Boyero; but, believe me, Broken Embraces is pure cinematic with a silly plot.
I enjoyed watching the film. i love the scene with lluis homar and penny in the sofa watching tv .
It´s a very beautiful movie. Boyero , the spanish critic mentioned, hates Almodóvar and his “so called” review is only a demonstratón of this. He gives not a single convincent reason because he didn´t liked the movie that is only a text where he says that almost every movie of Almodóvar is a fraud. But he only likes clint Eastwood movies and IMHO is a very mediocre . All the people here (most part of the press) in Spain is waiting Pedro´s movies with a Knife in his hands to say that.s horrible and that they are ashamed of Almodóvar´s success. They say terrible things sometimes without seeing the movie. It´s a very sad thing for me. The film is beautiful, long…more about films that abaut life. Wonderful shots and Penelope more beautiful and good actress than ever. Perhaps not Almodovar´s best (because is a difficult movie with a lot of risks in the way that is told) but better than most of films today. The work of a true master. Sorry for my broken english.
This film was really predictable and boring. I couldn’t care less about the characters. It’s probably Almodovar’s worst. I can’t believe he wrote it and directed it. It’s so amateur-ish!