Öffne meine Augen

There are for sure many other films dealing with domestic violence, but I bet no one is better than this one.

This is something that is said to happen quite often in Spain and the movie was shot in order to sensitize people for this issue and to bring to talk about it. It is the story of an ill jealous man, full of complex of inferiority, terrorizing his wife and son.

I loved the love scene between both, where he makes her repeat that she gives all her body to him (Te doy mis ojos, te doy mi boca etc.). It shows perfectly the mental state of the husband who sees his wife as his property.

This was as well an excellent performance of Laia Marull and Luis Tosar.

The best I can say in favor of this film is that I came out of the cinema with terrible back pain because I had been so extremely tense while watching it. The actors are absolutely brilliant, communicating all that needs to be told, and the plot is never simplistic.

Most European social cinema seems influenced by Ken Loach's movies and this one is no exception. The way time passes slowly and characters try hard to improve their situation reminds a lot of Loach's "Sweet Sixteen", among others.

If there is any weakness to the movie is that I can't say if people who do not share the director's opinions on gender violence would appreciate this movie as much as I have.

From beginning to end this movie is a sea of tension, mostly generated by Pilar's (Laia Marull) stunning fear gestures, and by Antonio's (Luis Tosar) volatile state, leaving the spectators breathing heavily in awe.

With great performances by the entire cast, a solid and incredibly realistic script, an amazing score, and shot in the beautiful town of Toledo, this production grabs you right from the start. Even when the story isn't as disturbing as 'Once Were Warriors (1994)' the characters develop a three dimensional presence to the point of being as complex as a real couple in a self-destructive relationship creating such a drama, that tends to be more psychological than physical.

And even when the conclusion does not represent a drastic overcome, it stands as an example of courage and self determination that will, in deed, prevail in the mind of the viewer, and even more in those who find themselves in the same situation as the protagonist. Kudos to Miss Bollain, this is a good movie, be sure not to miss it.

Writer-director Iciar Bollaín's film, TAKE MY EYES (Spain 2003) is full of boldness and nuance, approaching 'full frontal' (almost a pun here) the delicate 'taboo' subject on spouse abuse in love and marriage. The exceptionally talented and selfless portrayal of the couple by Laia Marull as Pilar (the young wife/mother) and Luis Tosa as Antonio (the husband/abuser) made their scenes together - both the tender moments and violent events, convincing and complete. It's heartbreaking to see these two people who could be so in love (felt through the intimate lovemaking scenes, the calm moments they enjoy each other by the river) yet juxtaposed by the traumatic turn of events (seen through the 'explosive' frightful situations). Bollaín, with Marull and Tosa, did not shy away from the volatile subject and key scenes - it is no doubt devastating to behold yet the impact of the situation is truly felt and may also leave us shaking. Kudos to such giving and fearless performances and production decisions.

The Toledo, Spain, locales (especially by the river and bridge) seen in the film are as beautiful as I visited in Fall 2003. I remember the museum where Antonio waited outside for Pilar. He tried. He wanted to be a loving husband to her, but he couldn't help himself. It almost seem like uncontrollable 'alcoholic dependency', his jealous rage generated from fear of losing Pilar, whom he believes he loves in his own possessive ways. While Pilar also tries. She practically loses herself in trying to please Antonio and be 'blinded' by his waves of tenderness towards her. She's struggling to be a good wife and responsible mother to their little boy. She's also trying to find herself through the process.

I recall the wisdom from poet Kahlil Gibran's book "The Prophet" on Marriage: yes, you shall be together forever more, but there should be spaces in your togetherness. "Give your hearts, but not into each other's keeping. For only the hand of Life can contain your hearts." And on Love, that it does not possesses, Gibran said: "And think not you can direct the course of love, for love, if it finds you worthy, directs your course."

TAKE MY EYES gives us a rare chance to observe closely the various aspects/perspectives of a domestic violence situation, and offering viable option on the part of the woman. It may not be an easy film to watch due to frank emotional depiction, but it is superbly delivered by a fantastic cast besides Marull and Tosa. The script, co-written by Bollaín and Alicia Luna, contains supporting storyline (including a wedding and Scottish bagpipes and kilts - cultural diversity, girl talk, men talk, laughs and heartaches). Production is excellent in every respect: cinematography, editing, art direction, music score, sound and all. Highly recommend this film, with no hesitation.

At the rate of more than one a week we have on our headlines a case of a woman being killed by her husband, ex-husband, partner or just simply lover, and even, very occasionally vice-versa. The fact that most of these crimes are committed in a very defined area of Spain is something which suggests the sociologists should be working flat out in an attempt to inform the politicians why this is happening - not that our elected representatives are likely to do anything to remedy the situation. Already, this year alone, 66 Spanish women have been beaten and killed by their partners in life. The other day I read that a lady judge had quashed a case of wife-battering because 'it was only an isolated case without continuity', or words to that effect. A lady judge .........! Evidently our legal and social systems need a drastic overhaul. And that means trying to inject a goodly dosis of common sense in both systems.

The Icíar Bollaín-Santiago García de Leániz tandem, forming Iguana Films, has clearly established that human contact stories are their main motivation, as in 'Flores de Otro Mundo' (qv); and in 'Te Doy Mis Ojos' they do not simply follow the line, but improve on it explosively. Somewhat akin to better known films by the British directors Ken Loach and David Lynch, basically for the sociological aspects in themselves, but clearly hallmarked as inherently Spanish in content and realisation, as is the case with Fernando León de Aranoa's 'Los Lunes al Sol' (qv), to name but one recent example of a film with a real human and sociological content, 'Te Doy Mis Ojos' competes with the best of the genre.

With this new film, the 'Iguana' tandem fall back on Luis Tosar again, and present us with Laia Marull. This actress had not come to my attention previously, as she seems to have done things for film or TV mostly confined to her native Catalonia. A welcome presence is Rosa María Sardà who has often pleased me with her interpretations in several productions. (Why she has to make silly advertisements for TV is totally beyond me). To say that Laia Marull in this film is magnificent is somewhat understating the reality: her performance is so close to absolute perfection, pure real emotions, that even the muscles in her cheeks and neck portray her feelings, as you will rarely ever see in any actress anywhere, however many Oscars they may have stacked away in their wardrobes, exhibited in gilt-framed glass cabinets, or just simply shoved in a corner behind the salt-pot in the kitchen. Laia Marull carries out a 'tour de force' which leaves you open-mouthed in admiration: her reading of the part is superb, such that the spectator is just simply left spell-bound. I thought this kind of acting was only possible in the best Russian tradition, or, if you push me, in some better British productions.

And Luis Tosar is not far behind. Without overplaying his difficult role of a husband, who is, to say the least, a bit off his rocker, and has to mistreat his wife and at the same time maintain the explicit idea that he is just about as sane as you, I, or anybody else, and thus is capable of tenderness, might seem to be asking any actor to overstretch his possibilities. If Luis Tosar was good - very good - in 'Los Lunes al Sol', here in 'Te Doy Mis Ojos' he was even better. These two, then, worked to make this film, evidencing good chemistry, but especially with the film's director, Icíar Bollaín. The result is electrifying, passionate, growling to the most abysmal depths, but reaching great heights in building upon human emotions - real emotions and feelings, not the canned ready-made ephimeral substantiations served up as if for dinner in a four-star restaurant.

The film is architecturally built on a very serious, tragic and dramatic situation; however, there are those lighter moments which can even produce a few teary-eyed guffaws. This is another point where the film scores highly: the timing is absolutely brilliant. In the kids' birthday party there is a brief, grim scene, suddenly interrupted by the appearance of an aunt holding aloft the candled birthday cake with that typically silly smiling grin of any ordinary woman present at such festivities, but with such perfect synchronisation that the audience barely staggers out of the charged tense atmosphere and into the more frivolous, before being thrown back into the grimmer parts of the story-line which pervades the film.

Because it is the stark reality of thousands of married women in Spain that is the basis of the film: badly- treated, beaten and abused, barely five per cent ever get to a police-station or to a court of law. This is the message in this hard, direct film that delves deeply into real human situations which cannot - should not - be simply left in the statistics of bureaucratic ledgers, as happens these days.

'Te Doy Mis Ojos' is a beautiful, tragic, moving real-life story; if in itself it must rank among the best seven or eight Spanish films I have ever seen - and believe me I have seen many - there is something which towers above the film itself - Laia Marull has achieved something nearing the impossible; and Icíar Bollaín has aided and abetted her to produce a final result that can only drive you at the end to give this film a standing ovation.