Leid und Herrlichkeit

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.

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.

After having seen this film, I overheard the conversation of the couple next to me while the end credits rolled over the screen. 'So beautiful! And so much red!'. It was exactly what I was thinking. Red is the colour of this film. The scenes without anything red in it, are sparse. The abundance of the colour red proves how meticulously Pedro Almodovar has taken care of every small detail in this film. The result is a feast for the eyes. But the film is not only very stylish, it is also very emotional - as is often the case in Almodovar's work. The story is about a film director looking back on his work and his life, in which pain and glory each play a part. His life is miserable, his body is in pain and his career seems to be in decline. But when a film museum asks him to discuss a film he made 30 years ago, he learns to see things in a different perspective. He resolves a bitter conflict, meets a long lost former lover and reflects on the death of his mother. The themes are tied together by a clever script, with long flashbacks. It's interesting to know to what extend this story was inspired by Aldomovar's own life and career. When an acclaimed film maker makes a film about an acclaimed film maker, this is an inevitable question. The imaginary masterpiece from 30 years ago, with a poster showing a tongue sensually licking the lips, could very well have been one of Almodovar's own exuberant movies from his early period. Some typical Almodovar-themes are present in this film, like the mother-son relation, and the catholic faith. Also, the two leads, Antonio Banderas and Penelope Cruz, are present in the casts of several of his films. In every aspect, this is a quintessential Almodovar movie.

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 .

It is a slow film, similar to life. I really enjoyed this movie, no one is clear what it is about until about and hour in. In simple terms is is film director who had lost his mojo because of the death of his mother and a back operations. He also begins to look back on his career and pivotal moments in his childhood. The flashback shots are perfectly and wonderfully capture the atmosphere of his young life while seamlessly interwoven with moments of present day.

Pain and glory is painful and glorious, as you'd except from a director who lives, suffers, enjoys and jogs his memory to find the small and grand moments of his human existence.

The acting of everyone was brilliant but limited so no Oscar here, Almodovar and Banderas are such a good match, the boy and the painter is such a delicate combination & the mother and the son in different moments of their lives, but mainly in the end, when they are both old. the dialogues are very meaningful, but movie as a whole had some profundity and was ravishingly shot as usual.