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  • An extremely kind, compassionate and tender film noir, from Spain's most internationally acclaimed filmmaker, might lack some of the suspense his other movies are famous for, but still it keeps the spectator thrilled and anxious until the very last moments. Anyone who likes Almodovar movies should see this one, and you can bring your family along, for a change (kids and grandmas alike).

    Indeed, the movie lacks some of the usual Almodovar suspense, and whatever mysteries it contains, are generally solved by the viewer some 20 minutes before they are explicitly and verbally elaborated on screen. It looks like Almodovar lost some of his interest in the telltale part of his movies, paying more attention to acting and emotions. Well, acting is fully worth the shift.

    Penelope Cruz is predictably brilliant and gorgeous, but performance by other ladies (from the elderly Chuz Lampreave to teenage Cobo) is also worth applause.
  • gsygsy28 August 2006
    Warning: Spoilers
    A wonderful movie,a masterpiece. Whether or not it's the summit of the director's output so far will be a matter of taste, but it's definitely up there with Hable Con Ella and All About My Mother.

    The story is dazzlingly well told. Even though it has the trappings of soap-operatic melodrama, sheer pace prevents any of the characters descending into self-pity. The emotional courage of these women (there are only four men with speaking parts in the entire movie, as far as I can remember, with not one of them being a major character) is what marks them out. Their complete involvement in life and, particularly in this film, death.

    The photography is excellent. Beautiful shots suddenly throw an event into weird relief, such as the funeral cortège framed between the sides of a narrow street, or the landscape suddenly resonating poetically with the hypnotic turning of windmills.

    The rhythmic editing is a trademark of Almodovar's. He's like a great jazz musician. Talking of which, his use of and sensitivity to music is another of his defining characteristics, and the score here, highly reminiscent of the same composer's work on Hable Con Ella, is again wonderfully melodic and romantic, matching the inner fire of the superb actors.

    Penelope Cruz lights up the screen. As others have remarked, her performance seems to be something of an homage to Sophia Loren - but Cruz is her own woman: she dazzles in a to-die-for role. However, this is far from being a star-plus-the-rest movie: the entire cast is in every way up to the mark, not least the great Maura, who herself seems to be invoking another Italian cinematic icon - Giulietta Massina.

    Unmissable.
  • Warning: Spoilers
    Pedro Almodovar's 2004 Hitchcockian effort, Bad Education, proved to be a polarizing force. Volver found plaudits amongst nearly every critic, and that is because amongst the father-stabbing, singalongs and appearances of ghosts, Almodovar has truly found his niche.

    Penelope Cruz plays the put-upon mother Raimunda, who, straight after attending the dusty town of La Mancha to attend to her mother's grave, finds herself husbandless, thanks to her own daughter. So far, so convoluted. But there's more. Her sister, Sole (Lola Deunas) thinks she's seeing the ghost of her dead mother, and their friend Augustina tries to find out the truth about her own mother, before time runs out and cancer gets the best of her.

    In his deftly-weaved, beautifully portrait of the fairer sex, Almodovar's touches are bold and brilliant, every scene resonating a vibrancy and unforgettable soul that is very appealing. In the lead role, Penelope Cruz gives one of the best performances of the year. As Raimunda, she is outspoken, risk-taking, and harbours a troubled secret about her daughter. The plot turns, suffice to say are as audacious as that of any Alomodovarian plot, but Volver impacts for its huge heart. You will love this women and care about their every move.

    The melodramatic, offbeat style that the film is made suits it perfectly, and Cruz, Duenas, Maura and Portillo give performances that impress and involve. Although the film, written specially for Cruz, essentially belongs to her and the independent, individual character of Raimunda, Maura, as the ghostly figure of her mother, is sad and funny, and perfectly in control of a performance that could easily slip into farce. Portillo is as impressive, and in a key scene involving a decision made on live TV, every nuance of her acting is effective in the heart-wrenching scene.

    Regular Almodovar collaborator, Alberto Iglesias, tunes his musical skills to perfection, and, through pizzicato-led interludes and frames saturated with colour, Almodovar's canny direction shines. He presents us a story as big-hearted and loving as many you're likely to find this year, and, despite there being some shocking plot twists, you'll still come out of Volver with a positive outlook on life. There's a lot of ground covered here, from severing drinks to parental atonement, but every scene has something great to it, thanks to a lovely screenplay that is by turns witty, bright, disturbing and heartbreaking. Mature, beautifully told and wonderfully acted, Volver is worth returning to.
  • 'Volver' starts at a cemetery where the women are cleaning the graves on a windy day. Young mother Raimunda (Cruz), who after attending her mother's grave, finds herself widowed, thanks to her daughter. Her sister, Sole (Lola Duenas) sees a ghost of her dead mother and their battling-with-cancer friend Augustina is in search of her own truth about her mother. Almodovar's colourful canvas is a wonderful portrait of women in Spain. Though it is a colourful portrait, it's dark but somewhat humorous and appealing. Almodovar tells the story in a sensible but somewhat simpler tone. There are some shocking revelations but 'Volver' does not dwell on any one particular incident. It's the story of the women.

    Penelope Cruz gives one of her finest performances. It's been evident in her recent film choices (that also include 'Bandidas' that she's experimenting with different roles. As Raimunda, she speaks her mind, she's energetic, she's brave and a risk taker but at the same time she's vulnerable and is hiding a dark 'shameful' secret. Lola Duenas's Sole is a loner (but she loves her sister and niece). She's independent and satisfied with her life. The actress does nothing short of a great job. Carmen Maura is equally great as the 'ghost' bringing lots of laughter but even during Irene's own vulnerable sad moments she is outstanding. Portillo's Agustina, is a quieter lonely character who loves the sisters. The actress skillfully underplays her part and her immense talent is especially evident in the darkly humorous and somewhat sad talk-show scene. Like Almodovar's 'Todo Sobre Mi Madre', 'Volver' is about distinctive female characters and the viewer loves these women and feel involved in their stories.

    Like most Almodovar's films, the soundtrack is part of the narration that adds to his slightly weird chaotic world. Similarly, Iglesias's score brings out the richness of the atmosphere created by the wonderful cinematography (thanks to excellent photography). The Spanish streets, the vivacious culture is just presented in Almodovar's unique style.

    'Volver' is witty, warm, funny, colourful, disturbing, uplifting and lightly dark with a well told story and lovable characters portrayed wonderfully by the actresses.
  • I'm not going to tell you what the film is about because what was about for me it may not be for you and one of the many pleasures of the film is to find yourself there. Just let me say that after the Sahara, Vanilla Sky and Captain Corelli's Mandolin's adventures in Hollywood, I had discarded Penelope Cruz as an actress, completely. Well, "Volver" made me swallow my judgment. She is, quite simply, spectacular. A sort of Sophia Loren when Sophia worked with Vittorio De Sica. She is a mass of contradictions and not for a moment she tries to play for sympathy.Her emotion is contagious and makes us comprehend the incomprehensible. Carmen Maura makes a chilling, beautiful and unique entrance into this sublime Almodovar film based on his most scrumptious screenplay. The women stick together for each other's sake, they may even cross unspeakable boundaries for sheer compassion. The film uplifted me in a way that no other film has done in a long, long time.
  • This is simple story about 3 generations of women: the grandmother Irene(Carmen Maura), her daughters Raimunda (Penélope Cruz)and Sole (Lola Dueñas) and her granddaughter Paula(Yohana Cobo). It takes place mainly in Madrid, in a neighbourhood where various ethnic groups and people from the different provinces of Spain live, people who went to Madrid looking for a better tomorrow. Raimunda, Sole and Paula have to go back to their home town to praise the dead and meet one of their aunts, Tia Paula (Chus Lampreave). Soon the old aunt dies and unleashes a serious of mysterious events, their dead mother re-appears to settle some unresolved issues with her daughters and with her neighbour, Augustina (Blanca Portillo), revealing a past until then unknown. This is movie about the Spanish culture, homesickness, the culture of the death and the struggle of 4 women with strong character and strong personality traits to survive wind, fire and death. It is extremely well produced and has great photography as well as an unmatchable soundtrack. It is a very nice movie, filled with laughter and emotions and with a beautiful simplicity . If you are waiting for a Hollywood romance, a Hollywood comedy or a twisting complex plot, this might not be what you are looking for.
  • Volver is a movie centering on women, for the woman.

    Volver (pronounced Bol-ber in Spanish) means "Return". The theme "return" revolves around the film. Three generations of women: The granny (Carmen Maura) returning from the dead, the mother Raimunda (Penelope Cruz) returning from her discordant life, and daughter (Yohana Cobo) recovering from abuse from her step father.

    Penelope Cruz is colorful and affecting playing Raimunda, probably her best role to date. This role will assure others of her capability to act, napping several Best Actresses nominations to date. She may have lost the Oscars to the Queen, but she won't be just known as the ex-girlfriend of Tom Cruise.

    This is a culturally rich movie which brings us to the back alleys of Spain, looking at lives from the rich to the poor. The cinematography is vibrant as well, as the screen is littered with the rich tomatoes, floral dresses and a top-angle view of Penelope Cruz assets. All done on purpose and beautifully definitely.

    There are many 'woman' issues – from motherhood, single hood, sister hood, self worth and independence. Male actors are almost non-existence, playing only bit parts and there is no hint of any impending love stories. Perhaps this is also why I didn't identify much with this movie. For the males, do not worry as Volver isn't any soapy melodrama. With its twists and fun, it is still an enjoyable comedy about second chances.

    Volver – The women scores, and so does Penelope http://themovieclub.blogspot.com
  • Warning: Spoilers
    Penepole Cruz is chopping tomatoes at the restaurant and says to the guy, "Please don't look at me like that. You're making me nervous." She has a right to be nervous. This is the world of Pedro Almodovar where bad men do bad things to good (sometimes) women. At least these horrific acts are not represented on screen. Not only that, not even men are represented on screen. They get a few seconds here and there but that's it.

    We do see a lot of women, an ensemble cast that I found entertaining as they try get along in the world, taking care of older loved ones, coping with trauma, doing their jobs, burying dead bodies, dying of cancer, and even coming back from the dead. Maybe. I hope not but because there is nothing like a little Magic Realism to ruin a story. If it's not ruined already. It's hard to tell because Pedro must be fond of games. He really knows how to stack the cards. But I still like it.

    The ladies are soft spoken and sympathetic and I liked them. The emotional quality of what they are saying really shows and makes them sympathetic. They hug and kiss each other a lot. The dialogue is quite good. Penelope is staggeringly pretty but I didn't like the song. The arrangement was too complex for such an impromptu gig which ruined it for me. I admit to folly in thinking early on that she was going to serve her dead husband to the film crew. How silly of me, what do I think I'm watching, Hitchcock? As you can see this is my first Almovdovar and I probably don't get it (unless it is a sort of paean to the plight of women ... or something) or at least fully realize the true intent, like everybody else in the world no doubt can.
  • The screenplay of Almodovar is good but the movie is beautiful because of the incredible cast and crew and moreover, the performance delivered by Penelope Cruz. She is so talented in the movie and particularly, in the scene with the song "Volver" by Estrella Morente. A nice movie to see !
  • EPIC COMEDY If we get to forget the delirious and delicious comedy side of the film, we find an epic story of what the second half of the past century was for so many women in Spain. Moving from the town to the city(from La Mancha to Madrid, from great patio houses full of architectural wisdom to terrific social housing apartments in the suburbs of the city), fighting against the elements(fire that burns down like love, wind that drives you crazy, water that used to fill our rivers and now is gone), having bad luck with men as the only possible fate, exercising companionship, imagination, tenderness and shrewdness as their only weapons for surviving. Keeping dignity untouched inside them.

    ACTRESSES Pedro Almodovar in this film is like a top ten chef reinventing the most popular dishes of his own culture! The movie is a tasting menu of the greatest playing actresses with the best possible direction. The wild instinct of Penelope to construct a suburban animal, with strong links to Italian mommas, the touching interpretation of Blanca Portillo, simply mind blowing, the master lesson from Chus Lampreave that fills the theater with rivers of affection, the young actress Yohana Cobo that achieves success in some of the most difficult takes in the film, and Lola Dueñas that gets the plainest part and gives it a huge dimension with high level performance for comedy. And Carmen Maura, that stars the story like a Japanese terror movie star, she is like the Obi-Wan Kenobi of La Mancha.

    DENSITY AND GRATITUDE So we have an epic story, great actresses, and a refined comedy that fills the spectator with gratitude, at least that is my case. I just have no defense in front of a film like this, that tells me a great story, makes me laugh, and has the highest detail density in objects colors, comments, views, gestures, references, movements and subplots. That is probably the only trouble with it, more than one view is necessary to catch it all, if possible!
  • Despite its gorgeous collection of images and a cast whose performances are tremendous across the board, Volver suffers from a reckless and haphazard plot. Almodóvar has a tendency to treat his plot points as if he were a Roman aristocrat in a vomitorium, throwing stuff at us that makes little or no sense within the emotional context of the film, and frequently fails to plane up with our previous understanding of the characters. This is particularly true with the inciting incident, and with the revelation at the movie's conclusion; moments that give birth to the unassailable "what?", "why?", and "why didn't . . .?" and leave us fending for ourselves in our attempts to put details in their proper places. While the plot always succeeds in engaging the viewer, it compromises our ability to treat the film with the seriousness it would otherwise deserve.
  • jotix1008 December 2006
    Warning: Spoilers
    The specter of a dead mother looms large over the lives of Raymunda and her sister Sole. In fact, when we first meet them, they are cleaning their parents' grave in their small hometown's cemetery. Since both sisters have left the town for Madrid, the sisters, as well as most of the people from the small town are doing that, maybe to observe All Souls Day. It appears that both sisters have bad memories of the small rural village where they grew up. Raimunda, more than Sole, has to deal with her own demons and their visits to their older aunt Paula, who is going senile, cause anxiety in them.

    The older aunt Paula, has lived near the kind Agustina, a good neighbor. Like in most small towns, there is a legend where most of the people in town have seen what they feel is the ghost of Irene, the dead mother of the two sisters and Paula's sister, who supposedly died in the arms of their father in a small hut during a fire. Agustina's mother, coincidentally, disappeared from the town just around that time. When the mystery surrounding the dead Irene is solved, it doesn't surprise us because we realize real ghosts are products of the imagination. The revelation of a family secret united Irene and Raimunda as they make peace with one another.

    "Volver", Pedro Almodovar's latest film, pays tribute to women trapped in bad marriages. It also pays tribute to a Spain that doesn't exist anymore. Most of those towns near the big cities have disappeared. With them went the rich lives the inhabitants of those villages created for them and their families. The post Franco Spain has evolved into a modern country in which people have no love for the work in the fields. Most people end up in places like Madrid where there is more prosperity, yet, their lives suffer because they are lost in the anonymity of the large metropolis.

    Pedro Almodovar has taken a thorny issue, incest, to be at the heart of the story. Irene's husband, a womanizer, and Paco, Raymunda's husband are men of great sexual appetites, who don't care who they hurt, as long as they can satisfy their hideous desires. Obviously, this problem is more common than one can imagine. The director deals with it in a sober way, without sensationalizing it.

    Supposedly, Pedro Almodovar, is paying tribute to his own mother, and the women he knew growing up in a small town of La Mancha with this new film. Like the Argentine writer, Manuel Puig, Almodovar discovered a the possibilities in portraying those women from his formative years. He also has a great ear for what goes on when women gather to talk. One example comes to mind when all the women in the town are seen at the old aunt's wake, as Sole, who is afraid of seeing dead people gets into Agustina's house and suddenly surrounded by Paula's friends.

    There is an indication that comes late in the film that Almodovar must have found an inspiration in those Italian domestic dramas of the fifties, as we see Irene watching a Luchino Visconti's film, "Bellissima", in which Anna Magnani reigns supreme. This Raimunda, in a lot of ways resemble her Italian prototype in the way she has been presented in the movie.

    Penelope Cruz, whose Hollywood career doesn't amount to much, is one of the best things in "Volver". Ms. Cruz shows that with the right director behind her, she can deliver. The other great presence, and we could even dare say, no one has paid her praise for her contribution in the film, is the great Carmen Maura. Playing Irene, Ms. Maura does wonders with her character, a woman that has hidden from her own daughter because of the shame she has carried for many years.

    The others in the cast, notably Lola Duenas, and the excellent Blanca Portillo, enhance the film with their presence. Johana Cobo plays Raimunda's daughter. The comic relief comes by way of Cuban actress Maria Isabel Diaz, who plays the kind prostitute Regina, a woman who proves to be a real friend when Raimunda needs her. Chus Lampreave, another Almodovar regular, doesn't have much to do.

    "Volver" shows a mature Pedro Almodovar at the top of his form.
  • Good film including interesting drama , colorful cinematography , sensitive score and nice interpretations by all Spanish cast . Offbeat black drama/suspense movie about an occupied housewife called Raimunda (Penélope Cruz) becomes involved with family problems . She lives in Madrid with her daughter Paula (Yohana Cobo) and her hubby Paco (Antonio De La Torre) , a drunken and violent man . The housewife's spinster sister Sole (Lola Dueñas) is increasingly convinced that their mom has returned from the dead . The two sisters lost their parents in a fire in the village of Alcanfor de las Infantas (La Mancha) , their birth location , years ago . Their aunt, Paula (Chus Lampreave) , still lives in the Mancha and goes on to believe her sister Irene (Carmen Maura) , mother of the two sisters , has returned from the dead as if she were still alive . When the old aunt dies the situation changes and the happenings go wrong . Then , a self-defense murder takes place and Raimunda has to hide the body . Later on , Sole works clandestinely as a hairstylist for women helped by a mysterious person . After that , the movie shifts into a more profound register as the roles haunted by various ghosts are systematically disturbed and the past returns.

    Enjoyable film incorporating serious-comic effects about the theme of maternal love , full of feeling , outlandish characters , haunting mood-pieces , Spanish Neo-realism , fun scenes, strange humor , and a totally satisfactory sense of style . The picture deals with mysterious drama , off-the-wall comedy , absurdities familiar , plenty of twists of mystery and suspense and many other things ; featuring a feminist heroine of classical proportions . For the first half , the movie goes agreeable and amiable with flashy brilliance along its jaunty way , pausing for serious thought until when occurs a killing . The picture is pretty well , it turns out to be superior to Almodovar's previous and subsequent entries . Filmmaker piles up on the contrivances , turns and twisted events so that the picture to have success . The result is undiluted scabrous drama , sharp images and a crazy strings of plots . It's a piquant look at lower classes involving twists and an intrigue about killings , disappearance and keeping the spectator intriguing and amazing . Flawless story with a quartet of sensational protagonists , including an unforgettable Penelope Cruz , she parades sexily at her best and more relaxed and enticing than ever . The hit of the show is undoubtedly for the fetching Penelope who gives one of the best screen acting . She sings marvelously a lovely rendition of the Carlos Gardel tango of the movie's title . I liked everyone in the excellent cast, and the male and female actors , especially Penelope Cruz , were all very attractive , she became the first Spanish actress ever to be nominated for Best Lead Actress at the Oscars . According to Pedro Almodóvar, there's only one fake element in Raimunda/Penélope Cruz body : the bottom . He said that this kind of characters are usually big-bottomed people, and that Cruz is just too stylized . Support cast is frankly well such as Blanca Portillo , Yohana Cobo , Chus Lampreave , Pepa Arniote , Antonio de la Torre and other delightfully played roles . Special mention for Carmen Maura , this was first movie of Pedro Almodóvar and Carmen Maura together in 18 years ; heir friendship broke after shooting "Women on the Verge of a Nervous Breakdown" . Emotive soundtrack by Alberto Iglesias , Almodoval's usual . Glamorous and brilliant cinematography by Jose Luis Alcaine . Alcaine was first cinematographer to use fluorescent tube as "key" lightning and deemed to be one of the best Spanish cameramen . Alcaine frequently works with Pedro Almodóvar , Bigas Luna and Vicente Aranda , he has photographed a lot of successes .

    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 melodrama , 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 who 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 ; the latter however , being a flop and badly paced comedy .
  • Warning: Spoilers
    I've been surprised by the enthusiastic response to this film. It seemed dull to me, much as I enjoyed looking at Penelope Cruz, and the plot details often poorly worked out. It also seemed like an intensely sexist film: if the gender roles were reversed, almost everyone with any sense would be up in arms complaining the movie is intensely misogynist. It's not just that both the principal males are portrayed as complete jerks and sexual predators, but also that the women are portrayed as almost flawless, forming a utopian community which lacks conflict of any kind and which rests on relentless generosity and good humor. Utopias are notoriously dull and this one turns out to be no exception. But it's also interesting to notice what happens (and here comes the plot giveaway, though it refers to a very early scene) when the teenage daughter kills her father. (1) Her mother rushes to take responsibility for it and(2) the daughter seems to suffer almost no remorse (and in fact her emotional life then disappears from the film). It's not quite a glorified killing, though Aldomovar's camera lingers on the blood in a bloodthirsty way, as though it makes an attractive painting, and then it's soaked up and out of sight without bloodying either daughter or mom, neither materially nor emotionally. Later the film reveals another killing, again by a woman of a man, , and once again it is a killing which the film implicitly endorses.In short, Volver is an ideologically-driven film with an unpleasant and in fact a repugnant ideology, and so I write an ideological critique. But apart from that, it's just not very interesting. It has none of the depth of, say, Aldomovar's Talk to Her, which I loved.
  • Warning: Spoilers
    I now can say I have seen a Pedro Almodóvar film in the theatre. Sure I saw five of the eight films included in ¡Viva Pedro!, but those were DVD projections, while Volver was the real thing (as evidenced by it catching fire causing the six or so of us watching to wait a bit before seeing the final twenty minutes). I will admit, while enjoying Pedro's lighter, earlier fare, it is the dramatic and dark films I really have an affinity for. Carne trémula and Hable con ella are brilliant movies that left an indelible mark on me once they concluded. Volver has moments of true emotional resonance, but there is a bit too much playfulness and an inconsistent tone that prevented it from being the masterpiece most critics are calling it, for me at least. I was captivated by the performances and the seemingly slight storyline, trying to figure out where it was going. However, a lot goes on that, while pulling a Usual Suspects twist, really is a series of McGuffins. Like that movie did for me, Volver proves that a great 180-degree flip at the end does not make a great film out of the hour and a half before it. Pedro definitely had something here, and while a very good film, just didn't quite seem to know how serious to take it.

    Even if the film was utter crap, I would still have given it a good rating based on the phenomenal performance from Penélope Cruz. She has always been panned as an English- speaking actress, yet hailed as one of the best when in her native language. It's true-I have not seen a really great role from her in English, (Vanilla Sky was good, but knowing that she was in the Spanish original, I have to hold judgment until seeing Abre los ojos), and the foreign movies I've seen with her showed a more confident skilled professional. Both times seeing Cruz in her natural element were in Pedro films, but unlike Carne trémula and Todo sobre mi madre, where she played somewhat shy women, relying on her friends, here in Volver, she has an almost sexual awakening from those previous roles. One could say that this film is a vehicle for Cruz's gorgeous figure as much as the story being told. She is simply beautiful throughout, and it's that beauty and self-assuredness that makes the touching moments of poignancy that much more effective. She goes through all emotions here, and I believe if Pedro allowed the film to stay true to the dramatic elements rather than playing some serious moments as comedic, her performance would have been elevated even higher.

    The supporting characters all do great work as well. Lola Dueñas is great as the sister whose secret knowledge of their mother's return from the afterlife constantly keeps her on her toes. The facial expressions are priceless when trying to keep her stories straight with her sister and hairstyle customers. With her role here and in the fantastic Mar adentro, (coincidentally directed by Alejandro Amenábar who did the aforementioned Abre los ojos), I really hope more of the hugely successful Spanish directors today utilize her immense talents. As for the ghost of a mother, Carmen Maura, Pedro's old muse, returns in front of his camera. She plays the part perfectly where you can never quite see if she is a ghost or really there. Her comedic timing is precisely on the mark each instance needed, but again I feel it could have been better used in a different film. I also must mention Chus Lampreave with her distinctive voice and delivery, shining again in a small role. Almost every Pedro film I've seen has had her involved.

    My review here might seem a bit harsh, but let me say I really enjoyed the film. It is just the knowledge of what Almodóvar can do with a dramatic piece of work that makes me think of how much more the movie could have been. No one does female-driven stories of family, love, and grief better, and it is just a shame many Americans don't have a clue about him. Hopefully Pedro will never sellout and do an English language film unless it's necessary for the story; he is too good at showing the culture of his home country of Spain. I have no clue if what he displays is true Spanish culture, but the opening scenes, with the tombstone cleaning, the funeral stories, and the non-stop kissing-greetings, make me feel totally surrounded by this foreign land.
  • Warning: Spoilers
    VOLVER

    Watching VOLVER, I was never quite sure where the film was taking me. Going into it I was anticipating a comedic film dealing with the return of a dead mother, back to set her daughter's lives straight. Turns out the impression reviews had left me with was only the most simplistic explanation possible for what turns out to be one of the years most delightfully twisted plots.

    Pedro Almodovar has always been a man in love with female beauty, but VOLVER should probably be considered his greatest homage to the female. The film is almost vulgar at times in its pursuit of capturing it's leading star's radiance, with camera angles shooting down necklines. However, Penelope Cruz's incredible performance roots the film with a dignity that overpowers any crude camera angle Almodovar could dream up. A rather stilted actress in English, Penelope Cruz offers a stunning performance here, in which her emotions bubble over through her gorgeously full yet mysteriously dark eyes.

    Cruz plays Raimunda, a young mother who has left the village she grew up in in favor of the city. Both Raimunda and her sister Sole (played by Lola Dueñas) return home at the start of the film to visit the town they grew up in, and when there they hear rumors that their dead mother's ghost has returned to care for their dying aunt. As time goes by, the women discover that this rumor might in fact be rooted in some truth. When their mother (Carmen Maura) appears to her children, secrets from the past are revealed that will shed incredible light on what makes these women who they are. The work between the ensemble is a joy to watch, yet Cruz remains front and center in a star-revitalizing performance fully deserving all the critical and award attention she has received this year.

    VOLVER leaps between comedy and tragedy more then once in it's two hour running time... but isn't that essentially how life works? Though the film becomes a bit too far fetched at times in terms of the dramatics that go on around it, Almodovar makes it work. VOLVER is a modern day version of the great Greek tragedies. I would never want to live the lives of these characters, but to watch their lives and troubles unfold certainly makes for a compelling movie.

    ... B+ ...
  • Raimunda is a hardworking mother who has the teenage Paula and husband Emilio to look after. She also cares for her elderly aunt in a nearby village. Raimunda cannot understand how her aunt can look after herself so well considering her age and sight but believes that neighbour Agustina is the hep, ignoring her aunt's babbling about Raimunda's long-dead mother looking after her. Their aunt dying brings Raimunda's sister Sole back to the village while Raimunda has another crisis of her own. When Sole is confronted by the ghost of her mother, she takes her into her house to allow her to take care of the unfinished business she left behind.

    Lacking the graphic nature and challenging material of some of his other films, this film is perhaps a more accessible Almodóvar film for a wider audience base. It is a shame though that this appears to have happened at the expense of the narrative drive and the film's passion – hell, since when has incest been so light-hearted? Despite lacking bite and major emotional impact, the narrative is still a solid flow from start to finish, built on future and past echoes through the three generations of women from the same family. For the first half a lot happens and the story flies along however in the second half the emphasis comes off the story a little because you can see where things are going generally long before they get there. This knocked the mystery and intrigue out of it but the interest in the characters was still there and this help me till the end. The film deals with some dark subjects but again Almodóvar seems unwilling to shock or push things because the subject is played out in the characters past rather than the present. The usual streak of well-observed humour also makes it feel lighter than perhaps it is as Almodóvar writes humour into the dialogue and also puts nice visual touches into the film that have hints of absurdity.

    The film may not generally be as strong as I would have liked but in terms of performances it is impressively strong. Cruz has been rightly praised for her turn because she is natural, convincing and delivers a range of emotions. She is very attractive here and it speaks volumes about her performance that I rarely saw her on this superficial level. However the praise lavished on her in professional reviews has meant that her co-stars have been ignored even though several are just as good. Maura is good in her role although the script gives her a very stable base in comparison to the others. She works well with Dueñas and the pair bring out a gentle relationship with nice humour between the two of them. Portillo is strangely asexual and that distracted me for a while but otherwise she gives a good performance although it was a shame that the script didn't do more with her. Cobo was wonderful – natural and totally convincing for a girl who has grown up with a very friendly and close mother/daughter relationship.

    Overall this is a good film but I can understand why some Almodóvar fans will feel like it is lacking somewhat. Indeed it is strange that the subject of incest is handled without being more gutting or shocking, however the story and the characters are good enough to carry the film even though any mystery burns out long before the end. Well worth a look for reasons beyond and including the roundly strong performances.
  • This is only the fourth Almodovar film I've watched, even though the local DVD rental store has practically all his work readily available! Since Luis Bunuel is my all-time favorite director, it might seem strange that I have stayed away from the most celebrated film-maker to emerge from this country in recent years but who has gradually turned himself into the Spanish Fellini (incidentally, I find the Italian maestro overrated).

    Anyway, Almodovar's latest – despite having been nominated for a great number of international awards, winning several of them – is essentially a charmingly humanistic film but, perhaps, too slight to be a masterpiece. Curiously, even if his work often involves crime and assorted transgressions (mercifully toned down here), to my eyes it remains obstinately mundane. The film starts out a ghostly black comedy and, even if eventually abandoning this supernatural territory half-way through, it still satisfies overall. Penelope Cruz is certainly at the top of her game here, and she even gets to sing in one scene; Almodovar regular Carmen Maura is also quite amusing as her troubled mother.
  • markus_ria19 March 2006
    I saw this film yesterday and it got me thinking well after I had left the cinema. It made me cry and it made me laugh. It is a choral film where women (as usual with Almodóvar) have the upper hand. I'm not a big fan of Penélope but I must admit she's really up to scratch this time. She has clearly fed on Sofia Loren to come up with the very credible character of Raimunda: tight skirts, high heels and generous cleavage. Carmen Maura and Lola Dueñas are simply magnificent. Also Chus Lampreave as Tía Paula (even in a too-short appearance inspired in Almodóvar's mother) is superb. Almodóvar himself has admitted that this is one of his most personal films, set in his home region of La Mancha and full of memories of his own childhood. Great music too. The moment of the tango ("Volver" by C. Gardel) turned into flamenco really makes you break in goose pimples. However, it is not Penélope's voice, but flamenco-star Estrella Morente's. If you like Almodóvar, you will certainly like this film.
  • Pedro Almodóvar "returns" in fine form here with this joyously multi-layered, circular, family bonding experience taking place in his home country of Spain as expressed in a way only the larger then life filmmaker has become accustomed to rendering. Painting an undeniably personal portrait of a burdened group of relatives untangling the deep, dark and mysterious web that has divided the group for several decades, Almodóvar brilliantly works into the impressively developed script wonderful amounts of engaging subplots, finely tuned and morbidly enchanting dark humor, and a side helping of personality that will have you falling in love with the esteemed ensemble cast.

    Obviously it is the well received work of Penélope Cruz, never looking more smoldering, that anchors the film with an enchanting bitterness hiding a more enchanting vulnerability. Nearly a love letter to the physical beauty of the actress herself, Almodóvar shoots Cruz in a most flattering light, complimenting her wonderful physique while hardly feeling cheap. Cruz would have undoubtedly shined less however if it was not for the tremendous supporting cast she has been given to flesh out this entertaining and rewarding glorified soap opera. The four or five main female actresses that make up the immediate family that revolves around Cruz's character are so well casted and written that each viewer will probably gravitate towards a different persona. It is when all these striking personalities come together in the natural manner that Almodóvar can capture that the film's gifts really shine through.

    Volver is good, very very good, but something does elude this film from realizing greatness. Perhaps it is the unique synthesis of genres, ranging from dark comedy to cultural drama, that somehow hampers the work from achieving a unified goal. Or maybe it is the heavy shifting between focal points that somehow muddies the film's touching final theme (though to the script's benefit, all different aspects are wonderfully interwoven by the end). Whatever it is, the film that could practically have been titled "All About My Mother, part 2", yields dozens of plentiful scenes rife with a feminine sensitivity that most likely could not be more effectively portrayed by most other directors, Spanish or otherwise.
  • For years, I have thought that some of the best movies that I have seen have come from Spain; Pedro Almodovar's "Volver" (which means "return") affirms this. The movie mainly focuses on young Raimunda's (Penelope Cruz) aim of rectifying some mistakes that she's made, but it really goes deeper than that. I could say that it's about life in general, about the human spirit, or something else, but I don't think that I can really do the movie justice by trying to describe it. It's just a wonderful movie (has Almodovar ever made anything less than a wonderful movie?).

    Among other things, I would like to say that Penelope Cruz does far better in her native country. In case you thought that she was getting too Hollywood, just check out this one and "Abre los ojos" (remade as "Vanilla Sky"; having seen the original, I see no reason to watch the Hollywood remake, as it looked more like an excuse to show off Tom Cruise). These two will show that Ms. Cruz has done well when speaking her native language.

    Anyway, this is a really good movie. I wholeheartedly recommend it. Also starring Carmen Maura.
  • Along with "El Laberinto del fauno" and "Babel", Volver (2006)- written and directed by Spanish filmmaker Pedro Almodóvar tale of family ties, hidden secrets, deaths, and forgiveness is a disappointment for me. One of the most praised and showered with the awards films from last year, "Volver", is IMO dull, non-compelling, and often laughable when supposed to be sweet, moving, and dramatic. I see what Almodovar was trying to do in "Volver". It is his own "Amarcord", his tribute and loving dedication to the women in his life, his admiration for mothers, daughters, sisters, and aunts; for eternal femininity as a driving force of life, for women's love, strengths, understanding, and their complicated but caring relationships. "Volver" is above all about the closest, the most tender and most complex relationship two women may have, that of a mother and her daughter, and how far a mother would go to protect her child, her girl who is always a little girl for her no matter how old she is, and how much a mother would regret and blame herself for not having noticed things that would ruin her child's life and forever alter in the most devastating ways the child's love and trust for her mother.

    In "Volver" ("To Return" in English), a mother (Irene, played by Carmen Maura) comes from dead to resolve the problems and to settle the affairs she could not finish during her life and by doing so, she would repair and re-vitalize her relationship with her daughters (Penélope Cruz, in an Oscar-nominated performance, and Lola Dueñas in an understated, subtly humorous performance) and her teenage granddaughter (Yohana Cobo, Cruz's daughter).

    "Volver" is also the writer/director's love letter to the Italian films of 50th and 60th with the great stars Anna Magniani and Sophia Lauren shining as strong earthy beautiful and sensual women - mothers. It is for that reason, in one of the scenes of "Volver", Irene watches on TV an old movie, "Bellissima" (1951) directed by Luchino Visconti with Anna Magnani as a mother who desperately tries to make her little girl's life better than hers. It is also for the same reason, Penelope Cruz had to put on few pounds for her Raimunda and to use a prosthetic device that artificially enhanced her rear end and widened her hips which along with her huge dark eyes and voluptuous sex appeal made her look like Sophia Loren's of the "Two Women" (1960 ) re-incarnation. I am gladly joining the legion of viewers for whom Cruz was a revelation in her third Almodovar's film. She's never looked more stunning and I am sure that she is a much better actress in Spanish films where she is natural, confidant, comfortable, and commands the screen. "Volver" has been her best achievement s o far. Her Oscar nomination is well deserved as the Cannes Best Actress award to the female ensemble cast is. All performances in "Volver" are above average and deserve the praise.

    As for the movie itself, I think Almodovar went too far in his idolizing and idealizing women and depicting all males in the movie as no good, cheating, and abusive evil presence. His verdict for them - they don't deserve to live. Not only that, the men in "Volver" don't even deserve their mysterious disappearances and/or suspicious deaths be investigated properly because nobody seem to care, and the least - Pedro Almodovar. He is too busy to photograph the women kissing each other so often that it becomes irritating and annoying.

    While watching the film, another famous European director, no less ambitious with the distinguished style, came to my mind - Rainer Werner Fassbinder. Almodovar has been often compared to Fassbinder because of similar for both directors' approach in creating iconoclastic films with elements of gay and counter culture incorporated into mainstream genres; the films that masterfully combine violence and sensuality, sentimental melodrama and soap opera with dark comedy, and the ambitious use of prime colors. Both directors have made wonderful movies about women. While Fassbinder was able to show his admiration for but never idealization of women, Almodovar was not fully successful in his latest film due to the story which is inconclusive, non-logical, often implausible, and more than often simply non-involving with many plot lines never been resolved, many questions never been answered, and with the ending, abrupt like in the middle of the conversation
  • Warning: Spoilers
    The minute Volver opens we know we're in for a strange ride. A rural cemetery is a hive of activity - women cheerily cleaning the headstones with almost festive enthusiasm. It could be a song and dance number, though we observe that the music is overlaid, the women aren't actually singing and, on closer inspection, the scene is strangely normal - if a little unusual. As Raimunda (Penelope Cruz), Sole and young Paula depart the gates, we are swept along into a fast moving story that cuts through moral boundaries with an unerring surety.

    This film is mostly about women, girls sticking together across generations, separations and misunderstandings, bonding and being able to rely on each other. But, this being an Almodóvar story, don't expect a cosy little tale where people follow a yellow brick road to happiness; Paula's father ogles then tries to rape her and gets himself accidentally murdered, more and more dirty linen gradually falls out of the cupboard, and an exceedingly realistic ghost (played by Carmen Maura from Almodóvar's early success, Women on the Verge of a Nervous Breakdown) provides a constant element of unpredictability. It is the first time Almodóvar has included a supernatural theme and he handles it with great panache.

    Comedic elements are added not just by hiding the ghost under the bed, but by a scintillating script which includes gems from a quick-thinking Raimunda. "Are you hurt?" asks an ex-boss solicitously (there is blood on Penelope Cruz's neck.) "No," she answers gaily, "women's troubles," although we know he has disturbed her in the process of disposing of a dead body.

    Her performance here is undoubtedly one of the high points of Cruz' career. She radiates from centre stage in most scenes, bouncing between being a wounded woman who puts on a dazzlingly brave face, to a dazzling screen icon as she slips into character when wooed by the local film crew for whom she is preparing lunch. Almodóvar also takes an occasional outing from a capable verité approach to show off cinematic artistry, with an unexpected overhead shot as Sole is surrounded by mourners, framing Cruz photogenically with mint leaves and cocktails, or zooming in to make the act of chopping red peppers a work of art that you almost want to frame and put on the wall.

    Diversions are provided by moments of flamenco guitar (to which Cruz lip-synchs beautifully), the simple beauty of the old Spanish streets, and the hilarious interrogation by the friendly whore who doesn't know what Raimunda wants her to do (assuming it must be something sexual when it's not, although perhaps even more nefarious).

    The plot develops with such dizzying speed you never know what's going to happen next, but as Almodóvar approaches his finale he ties everything up with Hitchcock-like revelations. Volver takes the fantastic and makes it seem not only believable but matter-of-fact. It is colourful, vivacious, and by turns full of warm comedy and deep, genuine emotion. If you only once see a subtitled movie this year, you could do much worse than Volver.
  • With a lusty, no-nonsense manner to complement her sensual allure, Penélope Cruz seems to be channeling Sophia Loren (especially in Vittorio de Sica's "Two Women") as Raimunda, an airport cleaning woman who finds her life turned upside down by unexpected death, possible ghosts and a thriving restaurant in Pedro Almodovar's 2006 film. A curious mix of absurdist comedy and melodrama with a touch of the surreal, it plays out like a cross between an old Warner Brothers women's picture (like Michael Curtiz's "Mildred Pierce") and de Sica's lighter social comedies from the 1960's (like "Marriage, Italian Style") but with Almodovar's particularly askew perspective and his trademark use of saturated bright colors.

    The meandering film focuses on a close group of women, most prominently Raimunda and her timid hairdresser sister Sole, who shuttle between Madrid, where they live, and La Mancha, the central region where they buried their parents who died recently in a fire. Their frail Aunt Paula blithely claims that their late mother Irene has been taking care of her, and sickly neighbor Agustina, who is looking for her own runaway mother, corroborates Paula's seemingly preposterous belief in Irene's presence. However, with an adolescent daughter and a beer-guzzling, unemployed husband to look after, Raimunda has big problems of her own which lead to dire consequences and test her aptitude for self-sufficiency. Meanwhile, Sole gets a not altogether unexpected visitor.

    Their stories eventually converge into a revelation that surprisingly lacks the resonance to bring all the plot elements together (probably because the same revelation has been used more effectively in other films). Almodovar's Baroque-level touches are everywhere from the candy-colored palette to the overly convenient plot turns to the attention on Cruz's cleavage and artificially bulbous behind. The elements just seem more contrived within a narrative that lacks the emotional power and propulsive pacing of previous works like "Talk to Her" or the similarly themed "All About My Mother". Regardless, Cruz is a far more interesting actress in her native tongue as she is given a fully dimensional character to play and even a chance to sing (albeit dubbed).

    Though somewhat overshadowed by Cruz's buxom presence, the remaining cast is solid with Almodovar regular Carmen Maura a gravitating presence as Irene, Lola Dueñas effortlessly bringing the insecurity out of Sole and Yohana Cabo as Raimunda's unusually becalming daughter Paula. The 2007 DVD is chock full of extras beginning with the engaging if lightweight commentary by Almodovar (with occasional participation from Cruz) spoken in Spanish and subtitled in English. There are more in-depth interviews with Almodovar, Cruz and Maura. There is also the inevitable making-of featurette and a meandering interview between Cruz and a rather smitten Los Angeles Times film critic Kenneth Turan at the 2006 AFI Film Festival screening. Almodovar's films are always worth watching, but from my perspective, this is one of his more modest efforts and more of a star vehicle for Cruz.
  • A film by Almodovar- sends a tingle down my spine every time. The capitalized print which opens the Spanish auteur's latest feature instantly induces memories of salacious nuns, gentle necrophiliacs, wisecracking transsexuals…and I haven't even got as far as the infant-terrible's critically reviled early work. And after a beautiful opening montage, with the camera roving across a wind-swept graveyard animated by a hoard of widows feverishly scrubbing tombstones, I thought Pedro had me again under his wicked spell.

    Yet once my nostalgia had subsided, there was very little to fill its place. For a director who revels in bringing humanity to assassins and rapists, he does a very poor job at finding any emotional depth or endearing quality in his women. Penelope Cruz is Raimunda, a headstrong housewife whose life is complicated by her daughter's accidental killing of her abusive husband. Thankfully she lives in Almodovar's Spain where your friends will quite happily help to dispose of a corpse for the offer of a round of cocktails. Add to the melting-pot the ghost of Raimunda's mother and a host of other eccentrically warm-hearted matriarchs. "Volver" means literally to return, and Pedro does appear to be recycling old material. The sub-plot of incest feels as though it were tacked-on as the obligatory "taboo". Instead of commenting on or subverting the issue, as with his treatment of paedophilia in Bad Education, it feels forced and unconvincing amid the film's chick-flick sentimentality. I suggest Almodovar call his next film Salir (to move on).
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