I loved this. It isn't so great compared to later projects where he knows how to use knives instead of chalk. And he decides to understand women, instead of understanding their luggage.
But this is better in a way because you can see the man, what a friend calls the exposed plumbing of what later would become a polished structure.
Stories in Almodovar's soul, that wonderful soul, appear first as images that only after they crack their shells into the fluttering wind of sight do they loose into their narrative trajectory. Sight first, then narrative. But because the narrative comes directly from the cinematic, it flows with an unusual naturalness. It drives into complexities, even emotion depths. It becomes surreal in places, but it all seems natural because it flows from the image within.
And that gives us another advantage. Nearly all films about love and women begin all their major strokes from the written or spoken word and the situations that grow out of them. That means in film that we are stuck with a limited vocabulary and set of patterns that not only dull with repetition, but aren't cinematic at root.
Even in this early film, you can see that because these eyesweets were never touched by pen, they are all fresh without leaving what we accept as true. Its quite an achievement.
The standout performance? A ten year old redhead with "powers," and around whom everything happens. She may be the cause.
Ted's Evaluation -- 3 of 3: Worth watching.
But this is better in a way because you can see the man, what a friend calls the exposed plumbing of what later would become a polished structure.
Stories in Almodovar's soul, that wonderful soul, appear first as images that only after they crack their shells into the fluttering wind of sight do they loose into their narrative trajectory. Sight first, then narrative. But because the narrative comes directly from the cinematic, it flows with an unusual naturalness. It drives into complexities, even emotion depths. It becomes surreal in places, but it all seems natural because it flows from the image within.
And that gives us another advantage. Nearly all films about love and women begin all their major strokes from the written or spoken word and the situations that grow out of them. That means in film that we are stuck with a limited vocabulary and set of patterns that not only dull with repetition, but aren't cinematic at root.
Even in this early film, you can see that because these eyesweets were never touched by pen, they are all fresh without leaving what we accept as true. Its quite an achievement.
The standout performance? A ten year old redhead with "powers," and around whom everything happens. She may be the cause.
Ted's Evaluation -- 3 of 3: Worth watching.