Women on the Verge of a Nervous Breakdown (1988) User Reviews (90)

Absurdism brought beautifully to the screen

[Laitue_Gonflable · 8/10 · 18 September 2003]

"Women on the Verge of a Nervous Breakdown" is the first in hopefully what will be a long line of Almodovar films, I just watched it today at a free film screening when I was supposed to be seeing Fellini's 8 1/2 until the tape messed up. This was a very fine substitute.

The film contains all the elements of an absurdist play by the likes of Beckett, Stoppard or Ionesco. From its bizarre and essentially alienating dialogue, to its disjointed plot brought somewhat together by the end, it is an absolute delight to see such films around today.

All the characters are wonderfully developed and, like in a play, the narrative is light in plot but heavy in characters. It makes you think, not about the story it is telling since the story itself is ludicrous, and not about what is said for the same reason, but just about the way the characters interact with each other and how this can be applied to everyday life.

There are also some wonderful performances contained within. Each of the actors and actresses are so gutsy and alive inside this strange para-universe that Almodovar has created. It really is a treat to watch, with the persistently wry and often wildly ironic humour extracted to its full potential by the deadpan mock seriousness plastered across each character's face. It gives us a good laugh, not just at the film itself but at ourselves and the elements of us we can see in it. Plus the mambo cab is a dead-set winner.

After seeing this film, I am currently desperate to see another Almodovar. From this one piece I can see he is definitely a director worth celebrating and admiring and I will try to encourage many others to discover him for themselves. ****1/2 / *****

Tight as a drum

[rbowles-2 · 7/10 · 13 June 2006]

What I like most about this movie is the economy of it's writing and directing. There really isn't a wasted moment, nothing extraneous and that is what keeps the pace crackling and makes the movie watchable in every moment. It also has one of the GREAT ensembles ever. Carmen Maura as Pepa keeps herself on that verge for an hour and a half without ever really falling off the edge, it is a beautifully modulated performance. Maria Barranco as Candela is another performance that teeters on the edge of falling off into an emotional rubble but somehow manages to keep it together. Those two are delightful in every moment they are on screen. We can't forget Julieta Serrano as Lucia, the one truly crazy, post-breakdown woman in the story who brings a quality of self-awareness to her role that makes it a bit heartbreaking. She knows she is nuts and can't do a damn thing about it. And then there is VERY strangely attractive Rossy de Palma as Marisa, a virgin who needs nothing so much as she just needs to get laid to mellow her out. These women are all superlative, but Guillermo Montesinos as the Taxi Driver nearly steals the movie out from everyone and gives certainly the best male performance in the film. You have to see him to believe him.

My brief review of the film

[sol- · 8/10 · 19 August 2005]

An interesting Spanish comedy, the film's humour is derived mostly from the events being so absurd. Some aspects are overly ridiculous, but it is still very entertaining stuff, executed in a lively manner with an appropriately fast pace and suitable music choices. It is constantly interesting on a visual level, with vibrant colours, creative camera angles, and a lot of framing and close-up shots. The action is a bit frantic and the plot is a little too convoluted, but the film maintains an almost fantasy-like atmosphere, in which it feels like anything is possible, and this quality makes it an enjoyable, unique watch. It is hard to say if Almodóvar is trying to say anything at all here, as there are some ideas raised about consequences that are not explored in much depth. Still, the originality of it all keeps it afloat, and it is certainly quite an unusual (in a positive sense) cinematic experience.

"Ask her who the hell is Ivan!" "Who the hell is Ivan?"

[fdpedro · 4 November 2003]

There are some movies that, no matter how good the translation, are just impossible for a particular audience to get. This is why I think most of the American audience wasn't be able to get into WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN. After directing the rather weak and disappointing drama/thriller LAW OF DESIRE, Spanish director Pedro Almodovar returned to screens in his full glory with this wonderful Academy Award-nominated screwball comedy.

Pepa (Almodovar regular Carmen Maura) works as an actress for TV commercials and dubbing of foreign films. Her lover Ivan (Fernando Guillen), who shares the same job, decides to leave her one day for unknown reasons, leading Pepa to assume he left with his wife Lucia (Julieta Serrano), who was recently released from the mental hospital. But after a while, Pepa realizes Lucia thinks the exact opposite, and that Ivan left for an unknown third woman. While on her quest to find this third woman, Pepa has to deal with her nervous friend Candela (Maria Barranco) who recently found out her boyfriend is a wanted terrorist and Carlos, (Antonio Banderas) Ivan's son whose annoying fiancé ends up getting accidentally knocked off by a rather lethal gazpacho.

Going any further with this film's plot would be unfair since most of the humor is delivered from it's many twists and turns. Almodovar was able to write a script so sharp with so many colorful characters and situations that the entire thing goes down with pure laughter. But is everyone laughing?

That brings me to the answer as to why many people didn't find this funny at all. If you don't speak or understand Spanish, (or some other language that comes from Latin) you won't be able to get this film as much as others. There is a reason why so many American comedians are never able to make it overseas: Humor is simply not international. The rumored but thankfully never completed American remake of this would have never worked. The performances for example: To people who understand the language, you can tell when the characters are being ironic, sarcastic, goofy, or serious. I don't think you can do that very well when English is your first language. So the users that have been complaining about "flat" performances might be already explained.

Almodovar has been accused of being a feminist, and this movie might be the main reason. I don't quite agree with that because WOMEN doesn't really leave strong message. If it does, I know few people who would actually care for it because this movie is hilarious. Every single character in these 90 minutes of absurdity gets well-balanced and get enough amount of time to shine: The MAMBO TAXI driver for example, turns out to be one of the funniest elements. The scenes all by themselves are already OK, but the frequency that they happen make them somehow even funnier. And the first-rate acting gets a big plus in my book. Everyone here is perfect (including a very scary way Almodovar coaches a good performance out of Antonio Banderas) with the true stand-out being Carmen Maura as over-the-top neurotic Pepa. It is a shame this was Maura's last collaboration with Almodovar.

But WOMAN's style is also not to be ignored: Most of the movie is set inside Pepa's apartment, which is put to good use. It is an amazing then-futuristic-looking retro set that with it's sitcom-like camp and artificial looking painted backgrounds becomes almost a character itself. Cinematographer Jose Luis Alcaine's camera is always up to interesting moves: There is the tracking shot of Pepa's feet as she walks in circles waiting for her call, or the reflection take from the answering machine. The work with colors is equally stunning, with the main colors being yellow and blue, and Pepa's red dress "over coloring" the environments around her for most of the time. You could freeze frame almost every interior shot of WOMEN... and stare at it for a while.

I can't really recommend this movie enough, as much as hard it is to review comedies. Reviewing a comedy is a tough call since it depends on weather you found the material funny or not. I have seen this over ten times and I always laugh at certain moments which I don't want to spoil. Let's just say the Jehovah's testimony and the TV commercial are the parts that always get me. I certainly did enjoy WOMEN... more than any other comedy I have ever seen.

(5/5)

Beware of the Gazpacho

[domino1003 · 10/10 · 6 August 2005]

"Mujeres al borde de un ataque de nervios," or "Women On The Verge Of A Nervous Breakdown" is one of Pedro Almodovar's funniest films in which a young woman's world is falling apart at the seams.

Pepa Marco (Carmen Maura)discovers that her lover Ivan (Fernando Guillen) has left her (Leaving a message on her answering machine). She also finds out that she's pregnant. It seems that things can't possibly get any worse.

But of course, she's wrong.

Trying to figure out why her lover left her, she contacts his ex-wife Lucia (Julieta Serrano), who is a bit unbalanced herself. She also finds out that Ivan and Lucia had a son name Carlos (Antonio Banderas)who, along with his fiancé Marissa (Rossy de Palma)visit Pepa to sublease her apartment. Then there is her friend Candela (Marisa Barranco), who is on the run when she finds out her lover is a terrorist who is planning to hijack a plane bound for Stockholm, and that she fears that the police will be after her.

Soon, Pepa has some serious problems. Lucia is convinced that Ivan is still involved with her, and the police show up at her door. The only thing she can do is offer her guests a nice cup of gazpacho. Trouble is, she had spiked the spicy concoction with sleeping pills (Which had already put Marissa to sleep). To make matters worse, Lucia takes off after Ivan after learning that he is at the airport with his new love, about to take off to Stockholm! Will Pepa get to her former love in time to stop Lucia from killing him? Great entry in Almodovar's filmography and its as spicy as the drugged gazpacho!

Almodovar at full throttle

[preppy-3 · 10/10 · 20 March 2000]

Funny, outrageous, ridiculous, colorful and fascinating film by Almodovar--his most popular film in America (so far). The story defies description but, basically, it's about three women (an actress, a psychopath and one on the run from the law) who are all affected by one man. THe story starts slow, picks up speed and is barreling out of control by the end. Well-acted, beautiful to look at and never a dull moment. Just see it! You won't be disappointed. Love the cabdriver and his cab!

Very funny farce

[Mitch-38 · 7/10 · 21 January 2001]

Wickedly funny movie of actress who gets dumped by her lover, and how she responds. Full of zany characters and richly applied satire, and some great plot twists. Very offbeat and comical, your time will be well rewarded. This is an excellent movie for Americans to get acquainted, if you're not familiar already, with foreign films or directors. Directed by Pedro Almodovar. Highly recommended.

Quite Possibly, the Greatest Screwball Comedy

[nycritic · 10/10 · 31 August 2006]

MUJERES AL BORDE DE UN ATAQUE DE NERVIOS is, from its classic opening title sequence in which Lola Beltran belts out her powerhouse ranchera ballad "Soy infeliz" to a montage of pictures taken from women's fashion catalogues to its appropriate closing with La Lupe (a gay icon herself in Latin America) singing her diatribe, "Puro Teatro", a perfect parenthesis that encapsulates a gay man's wet dream: the assortment of strong femininity, filmed to the beat of a potboiler, seen through the eyes of Douglas Sirk, and the heart and essence of farce taken to its limits. Seeing Almodovar's comedic masterpiece is not enough: it has to be savored like the fine wine it's become as it approaches its twentieth year from when it first exploded into theatres and rocked Spanish cinema to its core. Quite frankly, this is the greatest screwball comedy ever filmed, and for a genre created in the United States, this one trumps even Preston Sturges in sheer craziness that just builds upon momentum until it veers out of control.

As a matter of fact, television audiences who follow the satirical "Desperate Housewives" should make an effort to see Almodovar's WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN and appreciate the genius run amok during the approximate 90 minutes it takes to tell its frantic story. It's the only real way to appreciate what goes on ABC's hit show. From the moment our heroine, Pepa (Carmen Maura, in a role that has defined her career) awakens from her slumber and frantically runs to the phone to get that hungrily awaited phone call from Ivan (Fernando Guillen) who has abandoned her and faints in the middle of dubbing Joan Crawford as Vienna in JOHNNY GUITAR, as she crosses paths with the scared Candela (Maria Barranco), the lunatic Lucia (Julietta Serrano), anal Marisa (Rossy de Palma), and feminist Paulina (Kiti Manver) during the course of two days, we're in the same league as the five women of "Housewives." They might even serve as parenthetical bookmarks due to the twin nature of women in the throes of despair pushed to the extreme.

This is, as a matter of fact, what THE WOMEN would have looked like had it been filmed fifty years later. Less stagy than Cukor's film but no less effective even when it pokes good fun at artifice, camp, and itself, WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN is smart, witty, ferociously funny and oddly touching -- a tough thing to do in comedies. It marked the movie which brought Pedro Almodovar to international fame, such that MATADOR was re-released in order to bring its equally bizarre story to the public who had discovered a wunderkind in the avant-garde director. For years, plans for an American remake floated about and actresses names were on a continuous shuffle. Thankfully, the idea has not come through and audiences can enjoy this very Spanish, very quirky movie in its original form and see why the term "Almodovarian" exists in cinema today. This is what started it all, proper.

A great movie for all audiences

[sansbumw · 7/10 · 20 December 2005]

Mujeres all Borde De um Ataque De Nervios", or, simply "Mujeres", is a movie that offers the audience a glimpse into the mind of "the woman" (emocionally and intellectually). It is very exciting, a little suspenseful, and funny all at the same time. Pedro Almodovar directed the film in 1988 and it was nominated for the best foreign movie at he Oscars. The movie did not win the Oscar, but it was a huge success in the United States and world-wide. The protagonist, "Pepa", is played by Carmen Maura, a very talented actress. Carmen Maura has starred in other movies by Pedro Almodovar as well. He likes to use the same actors and actresses in his movies, for example, Antonio Banderas who is in this movie as the son (insecure and stuttering) of the first lover of Ivan, Lucia. The movie takes place in Madrid during the 1980's. The culture then was recuperating from the dictatorship of Franco. Under Franco the women had little rights: they couldn't work, they couldn't take birth control pills, everyone (even men) couldn't be homosexual publicly, and many others. Because of this, after Franco the culture became much more liberal and this movie reflects this movement. For example, Ivan has sex with many women and it seems to be that almost all the characters are having sex with someone outside of marriage, Pepa, a woman, has a very famous and respectable job, Candela as well, religion seems to be inexistent and drugs and sleeping pills are easily accessible. These sorts of things were prohibited under Franco. For the whole course of the movie Pepa, the lover of Ivan, is trying to get ah-old of him so that they can speak, but she cannot find him and it seems that he is avoiding her. Pepa's search for Ivan drives her crazy (because she cannot control her emotions). Candela, one of Pepa's friends and a model, has become frantic herself because she had sex with a terrorist that the police have recently detained. Candela is worried that the terrorists are going to inform the police that she allowed them to stay with her. So, Candela goes to Pepa's apartment for help, but Ivan's son and his fiancé interrupt them. In my opinion, Carmen Maura does a great job in the movie as Pepa. She is very convincing and natural; she plays the role perfectly. Antonio Banderas is good also, but I feel that he was a little inexperienced. The music in the movie is good, especially the "mango" music in the scenes inside the taxi. All in all, I think that Almodovar made a movie of suspense and excitement. The film showed me a side of women that I didn't know existed; it was a little enlightening for me. I liked the movie because it was suspenseful, the acting is great, it is directed well, and I learned something by watching it. I want my friends to see it because some of them think that women are weaker than men. I think they can learn from watching this movie.

Almodovar sets his standard for dark humour

[aromatic-2 · 10/10 · 8 March 2000]

Truly wonderful and insightful romp which alternates between tragedy and farce seamlessly without ever missing a beat. Excellent performances by the entire cast contribute mightily as does a first-class camp score. This was the first Almodovar film I ever saw, and it made it a requisite for me to see each new one as it comes out. The man is a genius!

wacky chaotic story

[SnoopyStyle · 7/10 · 16 August 2016]

TV actress Pepa Marcos is depressed after her boyfriend Iván disappears. The apartment is filled with animals. She accidentally sets the bed on fire. She puts sleeping pills in her gazpacho. Her distressed friend Candela shows up. Iván's son Carlos (Antonio Banderas) also shows up with girlfriend Marisa who are apartment hunting. Carlos' mother is crazy Lucía. Candela tries to jump off the balcony. She had an affair with an Arab who turned out to be a terrorist and she fears the police. It's a series of chaotic intertwining characters. It's a lot of wacky crazy chaos. It's a little hard to follow at times. It has some fun. It's got the Pedro Almodóvar style. I'm sure that I missed half of the jokes due to the language barrier. Still, it's wacky fun.

Terrific earlier Almodóvar

[rbverhoef · 8/10 · 1 October 2004]

The title, 'Women on the Verge of a Nervous Breakdown', tells exactly what this movie is about. A couple of women who are on the verge of a nervous breakdown. The film has the form of a soap opera although it combines many genres; in the end it is just a terrific comedy.

One of the women is Pepa (Carmen Maura), an actress. An actor, Iván (Fernando Guillén), was her lover but now he has left her. Before he leaves town she needs to speak to him and that is one of her goals the entire film. Another woman is Candela (María Barranco). She is almost losing it because her boyfriend is an arrested terrorist. She fears her name will be mentioned and she will be arrested. We also meet Iván's ex-wife Lucía who is a little mad with Pepa since she was her ex-husband's lover. Iván's son Carlos (a young Antonio Banderas) visits Pepa's apartment together with his wife because they are interested in renting it. Other women including a lawyer called Paulina Morales (Kiti Manver), a couple of police officers and a cabdriver are also central characters.

Somehow all these characters with their own story lines come together somewhere in the movie. In the beginning it is a little hard to keep track, although director Pedro Almodóvar keeps things pretty organized with his soap opera approach. The film is comedy all the time but it has dramatic moments, thriller moments, action moments including a chase, crime moments, and even a western moment in a sublime touch when two women are face to face, both with a drink, instead of guns, in their hand.

Director Pedro Almodóvar, who has made the critically acclaimed 'Todo Sobre Mi Madre' ('All About My Mother') and 'Hable con Ella' ('Talk to Her'), here already shows us how gifted he is as a writer and as a director. He knows that comedy can be found in all things, including sad things like lost love and suicide. Instead of trying to create funny moments he just gives us a couple of characters in a room and trusts that their way of living is funny enough for an audience to like it. As with the two movies I mentioned earlier 'Mujeres al Borde de un Ataque de Nervios' is a terrific example.

In the land of Almodóvar's women

[jpschapira · 7/10 · 4 August 2007]

I don't think Pedro Almodóvar used to make better films than the ones he makes now; I believe he's always crafted very good movies. But maybe some elements or characteristics of his older pieces are not as present in his actual work, "Mujeres al borde de un ataque de nervios" made me aware of this. For example, the day that the women of this film experience is unlikely to occur in an Almodóvar work today.

Mostly I mean the level of craziness and the absurd. His last film, "Volver", finds a lot of women living 'at the verge of a nervous breakdown' (as the title of this movie translates in English), and although they are about to loose their minds at times, they don't find the same taxi driver three times when they stop a cab in different parts of a big city on a same day… That's delirious!

But what's even more delirious is that Almodóvar's writing, with a perfect eye for understanding the female conscience, seems completely real but is cut off by situations like the one I've just mentioned; and that's a beautiful contrast. It's like watching a middle shot of Pepa (Carmen Maura) talking on the phone that suddenly changes to a close-up of her fast walking red high heels; it's like hearing things a woman in a difficult situation would think, but listening to the woman saying them out loud.

I don't know if Almodóvar would want to explain what "Mujeres…" is about; maybe he'd prefer that you watch it without reading anything about it. I could just tell you it involves a woman (Pepa) having an affair with a man that left his sick wife and his nerdy son, who's involved with an ugly desperate woman that goes with him to visit an apartment to buy and the apartment is Pepa's, who at the moment is being visited by a girlfriend who's scared because her ex-boyfriend turned out to be a terrorist…Don't say that you would have preferred I hadn't told you anything.

This is one of Almodóvar's first works, but don't forget this is the man who afterwards made semi-autobiographical pictures with risky images and character dramas with ruthless and pathetic characters. As a director, Almodóvar makes all his films look practically the same (the cinematography of the ever efficient Jose Luis Alcaine), although here the score is from a thrilling (Bernardo Bonezzi), before Alberto Iglesias started collaborating with Pedro.

Which takes us to the differentiating factor in an Almodóvar film: the screenplay, in this movie as always highlighted by the classic credits "screenplay and direction". Better than anything else, we find Almodóvar the writer, capable of creating (in this piece) wonderful characters speaking all the same time in a small room where you can understand everything and you don't stop laughing.

And therefore the performances shine; here by means of a unique and impossible to replace Carmen Maura, a beautifully over the top Julieta Serrano, a hilarious María Barranco and an unrecognizable Antonio Banderas, who shows here that he was probably something like an actor during a time of his life; Almodóvar allowed me to see that.

Earlier Almodóvar did not really win me over

[Horst_In_Translation · 4/10 · 24 November 2019]

"Mujeres al borde de un ataque de "nervios"" or "Women on the Verge of a Nervous Breakdown" is a Spanish movie from 1988, so this one is already over 30 years old now and it was written and directed by Pedro Almodóvar. It is not one of his really early works as he was already the man in charge on many more films before that, especially truly early in his career when he made one short film after the next. For this one here, he was in his late 30s and you could say that it was maybe his big breakthrough film internationally as he managed to score an Oscar nomination in the Best Foreign Language Film back then and also received awards recognition all over the planet. Not just him though, also his lead actress Carmen Maura did. The cast here really consists of many actors who kept appearing in Almodóvar's films in the following decades. The best example is a pretty young Antonio Banderas, who looks like a Hispanic version of Morrissey in here with his haircut really, who may have just come up with a career-best effort in the 2019 Almodóvar movie. But also all the girls really kept showing up in other projects. And this one here was also a family affair already as his brother Agustín is also producer here and they worked a lot together since then too.

However, I would say for this one Almodóvar was not yet at his best. Not even close. I quite like some of his works, but this one is among the weakest I have seen from him so far. The key concept of comedy here is one that takes us into treally abstruct, absurd and over-the-top situations and shows us the protagonists acting or trying to act in the most civilized manner as if it was really everyday moments. So there is a great deal of situational comedy to it I would say. One thing for which Almódovar is known to this day is really his art direction and the every day items (or wallpapers) that look somewhat interesting although they are really at their most normal, often in terms of colors. Something that stayed in the mind for me here from that perspective was the blue telephone outside. Or the red gazpacho. These two are Almodóvar's trademark colors in my opinion. Or also the thingey (don't know the English term) one character uses to find out who is at the other side of the door wanting to get in. That was an interesting design, nothing to be compared to how they look here in Germany. How boring you could say. But now I want to get back to why this film did not impress me as much as I hoped it would. The comedy, even if the characters were somewhat memorable, rarely truly impressed and entertained me. The first scenes after Banderas enters the scene are good and also the ending too starting with the chase sequence, but in-between there is so much absurdity that it really did not feel realistic at all. Also the plot twist with the gun. Or I did not really see the comedy in one character sleeping for almost the entire film the way some other people in the audience did. I don't know, maybe this is actually a movie that women understand and appreciate more than men. The 0.2 difference in rating here on imdb confirms it perhaps, even if I generally do not like statements like these that say one gender likes a film more. After all, there's many more female characters in here and they can also drool over Banderas of course. And for us guys I dont know, maybe Candela comes the closest or Ana, but she has almost no screen time. So what other moments were too much over-the-top and maybe not authentic enough for my liking? Perhaps Banderas' constant kissing. I must say he was a bit of a nothing character and perhaps his funny and probably also attractive looks made many people forget that. Or when Lucía gets out her guns towards the end in a really bizarre plot twist. It's a bit too showy for my taste all that and too much style over substance, even if admittedly there is no denying Almodóvar knows how to come up with colorful characters and also casts the right actors. It's probably just personal taste, but all in all I give this film a thumbs-down, even if it was a bit of a close call. On a maybe completely random side-note I find it a bit interesting how people are saying Almodóvar's newest (the one with Banderas I mentioned earlier) is somewhat about himself and also indirectly focuses on his early years somewhat (at least in terms of references and flashbacks), so also on the phase maybe when he made this film here. This would be all then. Perhaps I am a bit more positive about this film with a really complicated title (and why are there "s?) on rewatch, but I guess it's gonna take a few years until I give it another go unless it maybe airs soon on television on a lazy day.

Outstanding in Spanish, however...

[tvce · 18 July 2003]

I have seen several Almodovar films and this is far and away my favorite. The acting is marvelous in the original Spanish, especially Maria Barranco as Candela, and a young Antonio Banderas in his pre-US fame days. However, if you obtain the DVD version of this movie, resist the temptation to use the English-dubbed soundtrack. Sadly, the English version is just not funny. The readings are flat and uninspired, and the translation is not always accurate; too literal in some cases, just missing the point in others. It appears that the English dialog was written more for a close match with the lip movements than for precise translation. Instead, use the Castilian Spanish audio track and savor the beautiful performances. If you don't understand the language, read the English subtitles, which are more appropriately translated, and still enjoy the original.

Women on the Verge of a Nervous Breakdown

[Tweekums · 9/10 · 15 October 2018]

This Spanish comedy follows actress Pepa whose boyfriend, Iván, has just left her. What follows is a comedy of coincidences and mishaps. Pepa accidentally sets fire to her bed shortly before her friend Candela calls, she is worried because she has just learnt that her boyfriend is a terrorist and fears she will be arrested for harbouring him. Then Carlos, Iván's son, and his fiancée turn up to look at the flat, which Pepa is planning to rent out; Carlos had no idea of Pepa's connection to his father till he sees a picture in the flat. Things only escalate as Carlos tries to help Candela with her problem in a way that only serves to get the police to the flat; but not before Carlos's mother, who was recently released from a psychiatric hospital turns up.

If you want a realistic story this won't be for you; just about everything that happens relies on unlikely coincidences. For me this unlikeliness only served to make it funnier. The characters themselves are only slightly exaggerated; one feels that in more normal situations they would be ordinary people. There are plenty of laughs from start to finish; highlights include gazpacho soup that has been laced with sleeping pills, a visit to a lawyer who may be able to help Candela, and a rather different taxi driver. Writer/director Pedro Almodóvar does a fine job successfully takes the comedy to a high level without tipping into silliness. He is aided by a fine cast that includes Carmen Maura, as Pepa; María Barranco as Candela and a young, pre-Hollywood, Antonio Banderas as Carlos. Overall I'd certainly recommend this to fans of farcical comedy; it is very funny.

These comments are based on watching the film in Spanish with English subtitles.

Her only crime was falling in love and being afraid. I'd do the same.

[lastliberal · 8/10 · 8 September 2007]

With the Toronto Film Festival going on this weekend, it is appropriate that this is my second venture into Pedro Almodóvar's films, as it won the People's Choice Award at that festival in 1989.

Almodóvar wrote and directed this very funny film that is a far cry from Matador. Antonio Banderas is back, this time with a Lyle Lovette haircut, as the son of a philandering husband (Fernando Guillén), who also cheats on his girlfriends.

Carmen Maura (Volver0 leads a superb cast as the girlfriend that just got dumped. She is hilarious as she appears to be losing it. In comes her girlfriend (María Barranco), who is afraid of being arrested for harboring Shiite terrorists (this is 1998!). Add Banderas and his mother to the mix, and you have one laugh after another.

It even had a great line reminiscent of "A woman needs a man, like a fish needs a bicycle.":

Ana (Ana Leza, who was married to Banderas before Melanie Griffith came along): I'm fed up. I'm gonna get myself some quick cash, buy myself his bike and split. With a bike, who needs a man? Pepa (Carmen Maura): Learning mechanics is easier than learning male psychology. You can figure out a bike, but you can never figure out a man.

It is almost misogynistic to say the movie was very funny as all the women were hysterical, but it was.

Chaos with superficial characters

[bregund · 6/10 · 21 January 2021]

Upon its release I was drawn to this garish paella and loved it back then, but as I'm fond of saying in my reviews, your tastes really change when you get older. A recent viewing has magnified the film's flaws for me. In the 1980s I supposed that chaos+frantic=funny, but it's not a formula that works now, at least it's not enough. There's no depth to any of the characters, they're like cartoons you never get to know. Carmen Maura's facial expressions are wonderful, but to see her character go on and on and on about the man who walked out on her seems like a really old-fashioned statement about women in general, by the end of the film when she earns her independence it's far too late to redeem the burned bed, the phone through the window, and the stalking of the apartment building. This is supposed to be comedy? Yes let's laugh at the spurned woman who wants to kill herself with a drug-laced gazpacho, it's hilarious. It doesn't even work as a black comedy, and it certainly doesn't work as drama. I suppose the film is innovative in that it walks an uncomfortable line between the two, but at least make the characters more realistic. This paella gave me heartburn.

Outrageously wacky, colorful fun

[jonr-3 · 10/10 · 20 January 2004]

This movie is a treat for the eyes and a feast of fun for the mind. I watched transfixed as one outrageously implausible event followed another, the frantic action bathed in those primary colors that are a trademark of Almodovar's visual style.

Pedro Almodovar can make plastic look sexy. I would watch his movies even if they had no plot, just for the sheer pleasure of his compositions and audacious color sense. But add a fascinating plot--like a bad dream that's fun, if you can imagine such a thing--and some downright brilliant acting, and you've got me voting "Women on the Verge of a Nervous Breakdown" a solid ten out of ten.

Definitely one of the funniest films I've ever seen.

Almodovar successful comedy with his customary nutty characters , twisted situations and eccentric events

[ma-cortes · 6/10 · 14 October 2014]

Offbeat crazy comedy with hilarious results and turns out to be pretty funny . Almodóvar comedy starred by Spanish star cast plenty of likable humour and disconcerting plots . A film dubber woman called Pepa (Carmen Maura) is on the verge of a nervous breakdown when his lover named Ivan (Fernando Guillen) leaves her, and she tries to contact him to find out why he left her . In the opening scene Pepa (Carmen Maura) and Ivan (Fernando Guillen Cuervo) are dubbing to Spanish Johnny Guitar (1954). Pepa takes on Ivan's wife (Julieta Serrano) who is zealous because of his husband left her for her . Meanwhile , her clueless friend called Candela (María Barranco , though Victoria Abril turned down the role) appears in her flat . Candela who is as unsettling as she is afraid the police are looking for her because of her boyfriend seems to be a dangerous Islamic terrorist . There also meets Carlos (Antonio Banderas) , Ivan'son , and his girlfriend (Rossy De Palma) and amazing happenings take place .

Pedro Almodóvar brings us a very mixed bag of outlandish characters , rapid dialogs , and absurd situations on a luxury flat . As a pregnant woman becomes involved into loving triangles , terrorists , revenger wives and faces the greatest danger, which we carry within ourselves . Enjoyable though silly film full of good taste , offbeat characters , embarrassing mood-pieces , fun scenes , sympathetic humor and sense of style but not totally satisfactory , including conventional as well as undiluted pitfalls . The picture deals with troubled people , off-the-wall comedy , absurdities , terrorism , jealousy and many other things . The movie is pretty well and turns out to be a superior comedy to Almodovar's previous and subsequent entries . The result is an amusing but sometimes absurd comedy ,including profanities , colorful frames and a crazy strings of plots . There are many references to Pedro Almodóvar's universe throughout the film . Pedro Almodóvar and Carmen Maura's personal relationship was seriously damaged during the shooting, which Maura even defined as a "living hell". It took 18 years for them to work again . On Carmen Maura , Almodóvar told : ¨If you divide the stages of my career and labelled them with the names of the people I've worked with, there's definitely a stage in my filmmaking that would be called The Carmen Maura Years, and those films were all in the 80s - although I did work with her again on Volver (2006). At the time, I felt she was absolutely the best vehicle I could find to tell my stories. She was the actress who had the best intuition, to connect with what I wanted from her. She could be very funny and very dramatic at the same time, so it was the perfect combination for me¨ . Nice interpretations by all star-studded cast as Maria Barranco , Fernando Guillen , Rossy De Palma , Julieta Serrano and full of familiar faces as Chus Lampreave as a caretaker , Witness Jehová , and other delightfully played roles such as Kiti Mánver , Guillermo Montesinos as Cabman , Eduardo Calvo , Loles León , Joaquin Climent , Lambordero , Ana Leza , among others . And a Hollywood/Spain super star : Antonio Banderas . In fact , this movie marks Antonio Banderas's 3th collaboration with Pedro Almodóvar , after Labyrinth of passions and Matador , subsequently they made : Atame , The skin I live in , I'm so excited , among others hits . As usual in most of Pedro Almodóvar's movies, there is a small role for Agustín Almodóvar, his brother and producer of the film, who plays a building employee . Atmospheric musical score by early deceased Bernardo Bonezzi , Almodovar's ordinary ; including known songs by Chavela Vargas . Colorful and luxurious cinematography by Jose Luis Alcaine .

The motion picture was realized in his peculiar style by Pedro Almodovar ; he often uses symbolism and metaphorical techniques to portray circular story lines though here he directs a special comedy , including his ordinary touches . Almodovar directs throughout with splendid zip and he usually portrays strong female characters and transsexuals and along his career getting some important international prizes . His first feature film, Pepi, Luci, Bom (1980), was made in 16 mm and blown-up to 35 mm for public release . In 1987, he and his brother Agustín Almodóvar established their own production company : El Deseo, S. A. The "Almodóvar phenomenon" has reached all over the world , making his films very popular in many countries . Oscar-winning Spanish director Pedro Almodovar subsequently made successes such as Labyrinth of passions , Law of desire , Women on the verge of a nervous breakdown , Bad education , All about my mother , Talk to her , Broken embraces , The Skin I Live In and many others . The latest from acclaimed Spanish director , Pedro Almodovar's I'm So Excited (Los Amantes Pasajeros) competing for the inaugural best European comedy honor during the upcoming 26th edition of the European Film Awards .

Brilliant, perceptive, and wry comedy by Aldomovar

[herbqedi · 10/10 · 4 September 2001]

Twelve years before he directed Todo Sobre Mi Madre, Almodovar directed this piece of quiet brilliance about the co-dependencies of women and men. All aspects of sexuality and sensuality are explored in a kind of dimensional space not of this planet. Freed from conventional constraints, Aldomovar takes us into the frustrations and insecurities of the inner psyche. Perspective is the key we are assured, but how do the women keep perspective when the game is constantly changing,and there are no other constants except change. Very enjoyable.

The story of love (or rather lack of affection) between Ivan and Pepa, both are voice actors who dub foreign films, a lifelong couple who recently broke up.

[s13ky · 6/10 · 9 July 2013]

No doubt that this was the first great masterpiece of Pedro Almodóvar. This film is a delicious and irresistible sitcom that revolves around the loneliness of women in a crazy world dominated by men who cheat and lie. With a creative script, colorful scenes, superbly written characters, hilarious dialogs and an excellent pace, Almodovar took us to Madrid around 80's where many women were abandoned by their partners through excellent and hilarious scenes. In my opinion, this film successfully intersects tragedy with comedy. "Women on the Verge of a Nervous Breakdown" tells the story of love (or rather lack of affection) between Ivan and Pepa, both are voice actors who dub foreign films, a lifelong couple who recently broke up. No director portrays women better than Almodovar. This amazing comedy really shows what he is capable of. I've seen this film dozens of times and I can not find a single fault. It always seems as fresh, funny and endearing than before. It's one of those comedies that make you laugh every time you see them. All the actors are excellent in their characters, from the sublime to the delirious Carmen Maura, Maria Barranco, to Julieta Serrano, Rossy De Palma, Antonio Banderas and Chus Lampreave. It might not be a masterpiece, but it is an absolute joy, an absolute delight

I really liked it.

[cybevz · 8/10 · 3 April 2019]

Certainly I wasn't expecting what I saw. I was waiting for something boring, obviously I forgot it was an Almodóvar. I liked a lot the looks, how is everything kinda plastic an well decorated. The apartment of Pepa its such an interesting place, there are so many colors and how the red is managed its spectacular, you could tell how the characters connected with the red. I loved to see such an staging, loved all the things and how the ambiances were created. The sound was great, you have an delicate selection for you to hear. Although Pepa lives at an apartment very close to an avenue, we hear the traffic noises in specific situations, the phone, the crashing. I really liked the sound design. The story its incredible, I laughed a lot. Didn't expect that kind of humor in such situation. It's enjoyable, the kind of movie that you see and will never regret.

Crazy Women, Immoral Men

[gentendo · 6/10 · 8 March 2009]

Women on the Verge of a Nervous Breakdown is a chaotic screwball comedy that examines the nature of gender: its roles, implications, consequences, and cultural stereotypes. Specifically, the theme of the film seems to demonize the machismo mentality of womanizers. In contrast, it succors the women who fall prey to the pseudo-charms of womanizers.

From the very beginning, we are introduced to Ivan: a man with an attractive yet evasive personality. He is seen walking alongside a group of women, wooing them with trite compliments in what appears to be a television commercial, or pseudo-dream-world. This scene is very aware of itself: it's an expository and visual catalogue that sets up not only the quality of Ivan's non-committal character, but also establishes a tone that looks down upon the men of the world who "play" women. Ironically, the film is directed by a male: Pedro Almodóvar. I felt as though he was trying to explore the reasons behind women's emotionally nebulous states of mind; not in a way that criticized women for being so confusing to men, but rather in a way that was criticizing men for being so immoral to women. He took the male stereotype of manliness, exaggerated it within the character of Ivan, and then sought to examine the harmful consequences of what Ivan-like personalities can cause upon naïve, sensitive women. In other words, Almodóvar seems to suggest that men view women as crazy because they are unable to view themselves as behaving immorally towards them. Though the argument can hold true from the opposite perspective, I think Almodóvar was fair to place men in the negative light: it acting as a critique upon his own manliness rather than pointing the blame upon women. Since he's a man, he can't really be accused of being chauvinistic.

The women in the film are having, as the title suggests, nervous breakdowns due to immoral men— two of which whose lives are negatively affected by Ivan's womanizing (Pepa and lunatic Lucia). Pepa's and Lucia's maudlin behavior consequently affects (for worst) the lives of those around them. For example, Pepa wasn't being charitable towards her suicidal friend, Candela, because she was too wrapped up in her own agitated mind concerning Ivan. These women are shown doing absurd things in order to justify their hurt feelings from poor relationships: burning beds, overdosing on sleeping pills, attempting suicide, holding each other at gun point, etc. As I questioned why they were doing all of these crazy things, my mind always came back to the same answer: all of their behavior was a reaction to a man's infidelity and non-commitment.

Granted that the women in the story had freewill and did not have to react so irrationally, it didn't help much that their emotions were being toyed with by ambivalent men. A more refined theme can now be extracted from the film: poor relationships spring from poor morality, and poor morality comes because of greed. Consider Antonio Bandera's character. He's in a relationship with a somewhat controlling woman, who, when she gets drugged up, he leaves her for Candela because she's new, fresh. This idea plays off the difficulty of transient relationships: they start of fiery and passionate, but blow out too soon because of boredom and non-commitment. When given the chance to behave immorally, Bandera's character leaps at the chance. He selfishly desires the feelings of love, but not the work it takes to establish a real loving and lasting relationship.

Almodóvar exaggerates the film aesthetic-look to help convey these themes. Pastel colored walls, flamboyant costumes/dress, extensive set-design of plants, and over-the-top acting/stunts creates an atmosphere of hyper-stress and confusion. All these elements act as outward physical manifestations of the inner-turmoil he's trying to express regarding male-female relationships. Relationships are chaotic and screwball. They often create stress and confusion. In "normal" relationships outside the movies, the tensions that Almodóvar presents in his film regarding male and females are often experienced in more subtle ways. Instead of committing suicide over troubled relationships, we might gossip with the person next to us as to why we don't like whomever (though, indeed, many suicides have resulted from poor relationships). Almodóvar merely exaggerates common problems existent in these types of relationships in order to provoke how we feel inside when being tortured by a man or woman. In context of the movie, though, I feel that women will identify this film as a work of justice; one that slams upon men who ought to know better. For men, this film is a learning tool of why not to give mixed signals, let alone behave immorally—by doing so they only confuse the female species even further. I wonder what this film would have been like if directed by a woman: I'll assume the opposite would hold true of degrading women rather than men.

Confused.

[oazal · 1/10 · 4 September 2006]

I am a huge fun of Almodovar and Women... was the last out of all his movies I saw - I have seen all of them now. I am very happy that this one was the last as if it was first I wouldn't go any further. Early Almodovar, very square and obvious and so annoying that I couldn't get through all of this movie. Characters supposedly perfectly created - were absolutely unbearable - something too much and something else missing.At some point I developed feeling of compassion towards men in this movie. Cant believe that Almodovar was accused of being feminist after making Women.. I am very happy that later movies were better and I am looking forward to his new production to get rid of the bad taste after Women.... P.S. I am not American:)