Pain and Glory

I. Short review:

Half autobiographic, half fiction, Almodóvar's most intimate work is an european drama carved with humor and intense emotions you wouldn't want to miss, Antonio Banderas is a tour de force.

II. Full review:

Since this year's Cannes Film Festival celebration in which Pain and Glory competed for the Palm d'Or for best picture and supposedly the favorite to win, I took quite interest in Almodóvar's new film, also my personal experiences with two of his films that I've seen, 'Talk to Her' (which I think is an absolute masterpiece), and the very creative thriller 'The Skin I Live In' (also starring Antonio Banderas), were strong factors of that interest.

The film tells the story of a depressed and aching director that reconnects with old friends and people he used to care about, at the time that he reflects on his humble but enlightning past in several ways, all from the perspective of his gloomy and lonesome present.

Pain and Glory escalates in a ladder of triumphs, since its mesmerizing soundtrack by Alberto Iglesias (Tinker Tailor Soldier Spy), an astonishing cinematography by José Luis Alcaine, a masterful direction and gripping script by Pedro Almodóvar, to its top and greatest gift of all: a colossal performance by Antonio Banderas, which justifies his award for best actor in Cannes 2019.

Less bombastic than some of his previous work (which I also love, by the way), this bittersweet film shows the maturity of a director that's been around and seen it all, someone who's experienced both pain and glory and is asking himself what's next in life. In this partly autobiographical narrative, his most personal so far, Almodovar expresses some frustration with aging and with loneliness, but also his appreciation for the path that he's had the privilege to make for himself and continues to work on, and the people who are important to him. He succeeds in exploring nostalgia without succumbing to sappiness. If anything, Almodovar's senses and craft are sharper than ever. He's able to be critical and loving at the same time. I like how has evolved through the decades and that he keeps experimenting with different styles of storytelling. Antonio Banderas' award-worthy performance as the director's alter ego is understated, yet bold. Almodovar said in an interview that the choice was obvious, as Banderas is to him what Marcello Mastroianni was to Federico Fellini. And indeed there are some similarities between this film and '8 1/2': both films deal with the creative process. But whereas Fellini approaches the topic as a gladiator confronting obstacles with whip in hand, Almodovar is more low key and seems to point to tenderness as his weapon of choice.

A filmmaker (Antonio Banderas) deals with physical and mental ailments as he approaches old age, settling in to a sad kind of torpor as he reflects on life. People have come and gone and the real pain here seems to be quiet melancholy of regret, his body's (significant) issues notwithstanding. The film meanders a bit and suffers at times with pacing, but through his reflections and flashbacks, it tells a touching story about coming to peace with those we've known in life.

There's the filmmaker's mother (Penélope Cruz), who sent him to a seminary for most of his schooling because she had no money for a secular education, which led to him not learning much. In old age she dies alone in a hospital instead of in her home village, where he had promised to take her. (Oddly, the actor playing the elderly mother, Julieta Serrano, has blue eyes whereas Cruz's are brown, which was a little jarring to me). These are the things that swirl around in his mind as he still grieves over losing her.

There is also the actor from one of his popular films (Asier Etxeandia), who he had a falling out with decades ago, but who he reconnects with and is then introduced to heroin by. He casually tries it and then alarmingly we see him quickly hooked, which makes for what seemed like one of the longer subplots, which I wasn't all that interested in. There is an old lover who surfaces (Leonardo Sbaraglia), a man who disappeared out of his life and is now married with children, and the scene the two share is full of authenticity and warmth. He also recalls a time in childhood when he tutored a handyman for payment of services to his mother, and felt the first flush of desire when he saw him bathing.

I think Almodóvar was wise to draw a line at this last character not physically meeting him decades later, as it gave the film realism and a wistful bit of sentimentality. True to form, he also gives the viewer an explosion of primary colors, and there is certainly a lot of beauty on the screen. That kitchen, especially with its bold red cabinets, made me wonder if such a space would be too loud to live in, but later I read that it was modeled on Almodóvar's own home. I also loved the little touch of the Cruz's character and her friends breaking in to a light song while washing their clothes in the river. Nothing "big" happens here, but in its quiet way, it reflects the director, and his pain and glory in life.

It deals with an aging director called Salvador Mallo in the twilight if his long career : Antonio Banderas/Pedro Almodovar , suffering chronical illness . The mature Salvador has seeen better days and he self-medicates between his continuous depression . Along the way , he reminds his mother : Penelope Cruz , his absent father : Raúl Arevalo , his sweet childhood in a village , his first crush on an adolescent , their home at a cave , the search for cinematic hits and happiness and several others incidents .

Typical Almodovar film with biographic remarks concerning a filmmaker , Almodovar alter-ego, who suffers ordinary pain and a mental blockade who impedes to write and shot movies . These incoveniences reflect on his life , as he reminds his past life , loves , shooting and finds old friends and a previous lover . At last , he has a reborn , and a creative salvation outbursts in the way of a self-biographic storyline . The plot happens between these two subplots , his childhood along with his mom : Peneope Cruz/Julieta Serrano and the longest : adulthood period in which Banderas/Almodovar has relations with other roles as Nora Navas playing his friend/helper , the stage actor played Asier Etxeandia , an ex-lover performed by Leonardo Sbaraglia , and a doctor interpreted by Pedro Casablanc. The magnificent cast give very good interpretations , Antonio Banderas is sensational imitating gestures , grimace and visage of Pedro Almodovar himself. And other actors as Etxeandia , Julieta Serrano as the aging mother , Cecilia Roth, Susi Sanchez , Cesar Vicente , Julian López , all of them deliver nice acting . And brief appearance by the great musical star Rosalía. Special mention for the colorful and evocative cinematography by Jose Luis Alcaine, Almodovar's regular . Being filmed on location in Paterna, Valencia, Aranjuez and Madrid . It contains adequate but sad musical score by Alberto Iglesias who has composed several soundtracks in Almodovar films . And , of course , adding Chavela Vargas' songs .

The motion picture was well directed by Pedro Almodovar in his usual style , being produced by his brother Agustín who appears in a cameo, as usual, and financed by their Production Company " El Deseo" . Being nominated for 2 Acaddemy Awards , another 68 wins and 161 nominations . This new Almodovar realization got success enough at boxoffice . Almodovar is deemed to be one of the best Spanish filmmakers. He has got a lot of hits with his dramas , such as : " Talk to her" , "Volver" , "The Flower of my Secret", "The Sin I live in" , "Abrazos Rotos" , "Carne Trémula" , "Tacones Lejanos", "Matador" , "Que he hecho para merecer esto" . But Almodovar also has made comedies as " Women on the Edge of Breakdown", "Kika" , "I am so excited" and "Pepi, Lucía and Boom" , among others . Rating 6.5/ 10. The picture will appeal to Pedro Almodovar enthusiasts .

We are what we are, because of choices we made and people we met. Our past defines who we are today. Can we change if we think we go a direction that isn't a "good" one? Maybe we can - but that is not the major revelation or plot that you get served here.

Here you get a director, who seems to have lost his ... muse and sense and so many other things. Not his will to live of course ... no matter what he does or what he puts in his body, nothing implicates he has lost that will. Quite the opposite can be seen (subtly I'd say) in an interaction he has while buying drugs at a know place apparently.

He has regrets, he has sorrows and he still has a lot of things in him that want to get out (one way or another). Played fantastically by Antonio Banderas - you almost forget how he is in real life, so mellow, so convincing is his performance! Well done and another collaboration with Almodovar and him that shows they are a great pairing. Certain things may offend you no matter the rating - drug use, homosexuality and so forth. But those are part of life ... maybe not yours or mine ... but they are there - they exist. For this character more than for others.