La mala educación

This is a difficult film to write about. For one thing, to describe the plot would be to give away the twists and thus spoil its surprises; but for another, it's impossible to take a great work of art and put it into words. That said, here goes:

Truth be told, it was the promise of Gael Garcia Bernal (whom I've loved since "Y Tu Mama Tambien") in drag that piqued my interest in seeing "Bad Education." The only other Almodovar movie I'd seen before this was "Talk to Her," which I was on the fence about, but if Gael Garcia Bernal was involved, I was happy to give Almodovar another shot. (Interestingly, "Bad Education" has given me a new appreciation of "Talk to Her." The two films share a lot of themes -- false identity and self-creation, the willful self-deception and fantasy of falling in love, the spiritualization of aesthetic beauty -- not to mention a hypnotic use of music, an indifferent attitude towards women, and a few actors I recognized.)

Almodovar's genius in both "Bad Education" and "Talk to Her" is his ability to set the scene, stringing the audience along, lulling it into a sense of comprehension and security, and then suddenly turning the tables with a twist of such dizzying magnitude that the mind, reeling, forced to give up on trying to understand, must just relax and allow the movie to take over -- miraculously, all without leaving the audience feeling manipulated. In "Bad Education," he takes this device to breathless, upper-atmospherical levels, for with each twist, the film takes on a new genre.

It begins as a tender coming-of-age story, interspersed with boarding-school flashbacks reminiscent of such French fare as Louis Malle's "Au revoir, les enfants" and François Truffaut's "L'argent de pôche," although I sensed a lot of Fellini in the mod outfits, feathery hairstyles, and picturesque bicycle-strewn streets. Probably the most romantic segment of the film, it alludes even to "Breakfast at Tiffany's" (Henry Mancini's "Moon River" hasn't been employed so creatively since last year's "Angels in America"). Indeed, the performances are so endearing, the cinematography so warm and luminous, that this segment of "Bad Education" could easily exist as its own self-contained movie. I was fully prepared to embrace it and love it as a sincere period romance.

But without warning, the film turns itself upside down and becomes an exhilarating meta-commentary in the vein of Charlie Kaufman's "Adaptation" (complete with crocodiles). Romance turns to farce and tragedy to comedy as the self-consciously cinematic style gives way to the silliness of a movie-within-a-movie.

Unlike "Adaptation," though, "Bad Education" goes on, and in this way it retains its heart and soul. Further twists are introduced, and the movie metamorphoses into a mystery, a thriller, a dark rain-soaked noir -- by the end, I felt as though I had just lived through a hundred years of cinema history, all condensed into less than two rich, glorious hours.

So what holds it all together? The answer is Gael Garcia Bernal. He is a true movie star -- divinely beautiful, dazzlingly charismatic, with that all-important aura of mystery -- and though he virtually plays five characters as his character transforms along with the film, his strikingly calm blue-green eyes and sensual mouth provide a steady center for the madness around him. Despite the rumors of his abusive treatment on set at the hands of Almodovar, Garcia Bernal has a dignity (without which "Bad Education" would collapse under the weight of its own intelligence) that no amount of makeup, wigs, dresses, induced anorexia, or fake Spanish lisping can mask.

"Bad Education" was one of the most intense movie-going experiences I've ever had, and if its future doesn't hold critical acclaim and recognition as a classic, then there's no justice in the world.

Spoilers

Since 'Hable con ella' ('Talk to her', for which my summary line was 'Almodovar mellowing?') which some consider Almodovar's best, his fans have been looking forward to his next one with great expectation but also some apprehension as to how could he possibly tope it, in the sheer ingenious creativity, if nothing else. Bound for Cannes release, Bad Education soon demonstrated that the apprehension is not unfounded. It is, after all, not easy to surpass the achievement of Hanle con ella. Undoubtedly still Almodovar, Bad Education however is Almodovar melodrama, a little short of Almodovar masterpiece.

The film opens with attention grabbing, definitive music (regardless of what mood) that is Almodovar's hallmark. Similarly, we see the inimitable Almodovar feuding colours. Homosexuality and fetishism you'll almost always expect in an Almodovar film but there is less extreme perversity and violence compared with some of his other pictures.

And here comes the plot. The story of the young altar boys is told in a manuscript of a book entitled 'The Visit', which is used by one of the grown-up boys Ignacio, now a transvestite called Zahara, as a tool for blackmailing Father Manolo. But wait, all this is just in a screenplay. The story of Father Manolo and the altar boys however is real. The real Ignacio is the screenplay writer, who is trying to get Enrique the film director, another grown-up altar boy, to produce the film. But wait again, Ignacio doesn't want to be called Ignacio, claiming that he is now a fully transformed person called Angel, an actor trying very hard to get to play the part Zahara. Having fun yet? There's more. Enrique becomes suspicious if Ignacio/Angel is really the Ignacio he knew as a kid, and embarks on an investigation. Meanwhile, Father Monolo jumps out of the screenplay, materialising as a real person. And all these stories within stories are told jumping back and forth between past and present, fiction and reality. Enough? There's more, a lot more.

In the end, Bad Education, while enormously entertaining, stops at being just that instead of moving further into the realm of depth of emotion and breadth of creativity we see in Talk to Her and All About Mother. However, in addition to the entertainment, there is one particularly bright spot, one Gael Garcia Bernal (playing Angel and all the rest of them) who first served notice in the brilliant Mexican film Amores perros (2000) that he has to be reckoned with. I just can't wait to see him play Cuban revolutionary icon 'Che' Geuvara in Motorcycle Diaries (2004).

In "La Mala Educación", Almodóvar is very serious and too dark and tragic, when comparing to his previous movies. There are many usual elements, such as the attack to the Catholic Church, gays, travesties, homosexual intercourse, child abuse etc., but not in his common ironical, colorful and funny way; instead, the story is developed in a very bitter context. The screenplay magnificently discloses the plot, with a story inside another story, mixing "reality" with fiction; the direction of Pedro Almodóvar is excellent as usual; and Gael Garcia Bernal proves his versatility as an outstanding actor. Although being a great film, I do not dare to recommend "La Mala Educación" for any audiences. However, fans like me of this great Spanish director will certainly like it a lot. My vote is eight.

Title (Brazil): "Má Educação" ("Bad Education")

Almodovar's latest film is a tantalizing, hypnotic and sexy mixture of VERTIGO, MEMENTO and MULLHOLLAND DRIVE. It's Almodovar's meatiest and most complex script in years. Although you may be confused early on as you're trying to figure out whats going on, its all revealed later and very satisfyingly. Gael Garcia Bernal is outstanding in his multi-dimensional, multi-character performance. Alberto Iglesia's music is wonderful--a homage to Bernard Herrmann.

The film is rated NC-17, which has more to do with the MPAA Board's homophobia than anything else. Sure, its a sexy drama with elements adult plotpoints, but had the sex scenes in this film been between a man and a woman, rather than two men, this would have easily gotten an R rating. All of the sex scenes are artfully filmed (there is no frontal nudity) and even the subplot concerning a pedophile priest is handled with care.

Is it an accusation of the Catholic Church or is it the story of a priest who is bound by his religion to strict rules concerning sex and feelings? Is there a theme in the film or is it just a story? Those are a couple of questions I asked myself after seeing La Mala Educación from the Spanish director Pedro Almodóvar.

Actually, La Mala Educación exists of three stories which have been interwoven in a miraculous way. Story one: film director Enrique is being paid a visit by a long lost friend. That friend, Ignacio, is an actor and has written a story that Enrique might want to make into a film. Enrique's story is for one part made up by Ignacio's and Enrique's experiences when they were young boys and were living in a Catholic boarding school. Ignacio reads the manuscript and sees the pictures in his head, and that is story two: a transvestite finds an old friend, Ignacio. After having sex, the transvestite steals a manuscript Ignacio wrote about his secret: while in boarding school he was sexually abused by a priest. To gain money, the transvestite blackmails the priest: give me money or I'll publish the manuscript. The priest reads parts of the manuscript. And that is the third story: the experiences of the real Enrique and the real Ignacio while attending boarding school. During that time they discovered the meaning of friendship, love and physical desires.

You have to keep up with the film. When your attention wanes you might miss a detail that's important later. When seeing the film, try to remember the names of the characters very quickly. It makes viewing easier.

Is La Mala Educación a typical Pedro Almodóvar film? Yes and no. No, since women are not the main theme, as in his other films. No, because it's not an unbelievable and absurdist story. Yes, since the film has some typical Almodóvar characteristics: the transvestite, the junkie that is caught on the lee shore, and the hope people have to reach a better life. More than in other Almodóvar films homosexuality is an important theme.

When the film was over you could see the visitors of the cinema thinking: is it a film about the Catholic Church, about emotions and selfishness, about… The scenes had to fall in place.