Los abrazos rotos

Harry Caine is a blind scenarist and an outdated film director, whose life is broken down due to a traffic accident 14 years ago in 1994. While he was directing his movie "Girls and Suitcases" he was having an affair with his leading actress Magdalena(Lena in short) playing by Penélope Cruz. New make-ups and new hair designs every other scene, Cruz stands out brightly at all the scenes that she's involved. She came to the spot at the 7th minute of the theatrical cut, left 15 minutes earlier than everybody else in the movie.

This excellent work of storytelling in such a melodramatic plot worths to be vigorously applauded. It never becomes a melodrama even within in the crying scenes of Cruz nor the scenes of Mateo Blanco reminiscing Lena. The psychological trauma constituents enrich the focus of the movie right in position. Pedro Almodovar is known for using a script supervisor at his film set; and this surely brings the dialogues to perfection. Beefing up the storyboard via the scene connections, the time gap between 1994 and 2008 is used very wisely. You can still find a couple movie mistakes in anachronisms or factual errors -like mixing GBH and MDMA liquid drugs one after another, which will cause to golden hit and kills you, instead of giving you a girlishly fainting- yet the plot has no serious flaw as far as I realize.

Mainly together with 4 supporting actors and actresses, the film drew 6 different schemes for each character. Among all, Rubén Ochandiano played the toughest role as Ernesto Martel Junior decoding a gay person's characteristic development in a 14 years of period.

A traffic accident in which the lovers involving changed the lives of 6 people. This was the main idea here, reminding the Crash and David Lynch's Mulholland Drive with this concept and it deserves to be recognized with awards like them. Not advised to watch for a family movie due to mature subject matters, female nudity, drug usage, scenes of violence and mild language.

There's never been any doubt about Pedro Almodovar's unquestioned, unstoppable love for all things cinema, a fact that pops up frequently in his body of work, most notably the autobiographical Bad Education. Like that intrigue-heavy melodrama, Broken Embraces was shown in competition at the Cannes Film Festival, with many critics and bookmakers speculating about the director finally winning the Palme d'Or after many unsuccessful attempts (the closest he came, apparently, was with the stunning Volver). Of course, the movie received zero awards (with the top prize going to Michael Haneke, another "perennial loser" so to speak) and left many people who saw it indifferent. The reason? Almodovar keeps making the exact same films year after year.

The "hero" of Broken Embraces is a Spanish screenwriter (Lluis Homar, who played the older priest in Bad Education) who calls himself Harry Caine (a mixture of fictional character Harry Palmer and the actor playing him, Michael Caine, or possibly a play on how Italians and Spaniards phonetically pronounce the English word "hurricane"). He's blind, and has gone off on a soul-searching journey to deal with a tragedy that occurred 14 years earlier. As the mystery surrounding his past unravels, flashbacks are used to depict a "happier" time, when he could still see, was known as Mateo Blanco and tried to make his last film, on the set of which he met and fell in love with actress Lena (Penélope Cruz), who unfortunately was involved with another, more powerful man...

It's easy to see why people choose to dislike the film: they're right, there's nothing really original in the screenplay (the "solution" to the mystery is easy to guess), in fact Almodovar seems to be going on autopilot, hitting the melodrama button without bothering to make sure he's doing it the right way. But that doesn't mean he never does a good job: visually, Broken Embraces is as enchanting as Volver, and if there's one thing the director hardly ever gets wrong, it's casting: Penélope Cruz is beautiful and convincingly vulnerable at the same time, Homar elicits enough sympathy as Mateo/Harry, and the "villain" of the piece (José Luis Gomez) is acceptably solid.

As for the self-referential streak in Almodovar's production (there's at least one in-joke in every film), he really hits gold this time, with fake footage of Mateo's lost film coming off as a clever pastiche of earlier hit Women on the Verge of a Nervous Breakdown, which starred his other muse Carmen Maura. That scene alone justifies watching the film at least once. Broken Embraces may not be vintage Almodovar, but he's worth checking out even when he's "slacking".

Make no mistake this is a very accomplished film. However, it seems to me there is a significant problem with the first half hour. The characters as portrayed at this point are really wooden and do not ring 'true'. We're effectively being told a back story that seems to have no relevance to the story as it unfolds and ultimately how it concludes. This part could be dropped/cut without too much detriment. Of all of Pedro A's films this is the one that provides the most unexpected laughs. Oh yes please, I'd like to see that girl and the suitcase film - it looks great fun. Penelope Cruz is absolutely stunning - even when she is doing the bad acting routine she gets it spot on. Brilliant. She deserves far more recognition for her acting skills than she gets.

In 1992, in Madrid, the secretary and escort girl Lena (Penélope Cruz) becomes the mistress of the powerful entrepreneur Ernesto Martel (José Luis Gómez) that is her boss and takes care of her terminal father. In the present days, the blind screenwriter Mateo Blanco (Lluís Homar) known by his code name Harry Caine meets a beautiful blonde (Kira Miró) on the street that offers to read the newspaper for him and tells that Ernesto Matel has died. Then his agent Judit García (Blanca Portillo) and her son Diego (Tamar Novas) arrive and Harry promises to end the screenplay that he is writing until the end of the day. Judit leaves the apartment and Harry is visited by a man code named X-Ray (Rubén Ochandiano) that introduces himself as a filmmaker and asks Harry to write the screenplay of his documentary about his intolerant father. Harry recognizes him, refuses the request, sends him away and recalls the year of 1994, when he was casting for his film "Chicas Y Maletas" and met Lena. Sooner they fall in love for each other and Ernesto Martel, who was the producer, sends his homosexual son to prepare the behind scene and making off of the movie. With the support of a reader of lips, the jealous and obsessive Martel daily falls each step of Lena with tragic consequences for the couple of lovers.

"Los Abrazos Partidos" is another magnificent film of the talented Spanish director Pedro Almodóvar, who is among my favorite contemporary directors. The plot has a complex, but perfect screenplay with use of flashbacks with a marvelous development of the characters. Lluís Homar performs the lead character Mateo Blanco a.k.a. Harry Caine (a pun with hurricane) that uses two alternate names of Pedro Almodóvar and has a great performance. His erotic scene with the unknown and extremely gorgeous Kira Miró is astonishing. Penélope Cruz is stunning and has another top-notch performance directed by Almodóvar. The open conclusion is ironic after the remark of Mateo Blanco about "Chicas Y Maletas" and I liked it. My vote is nine.

Title (Brazil): "Abraços Partidos" ("Broken Hugs")

Pedro Almodovar's latest, "Broken Embraces," is like a high-class telenovela for the art-house crowd.

Its love triangle - involving a film director (Lluis Homar), his gorgeous lead actress (Penelope Cruz) and her elderly, abusive boyfriend (Jose Luis Gomez) who's financing the film on which they're working - spans the period from 1994 to 2008. In the present time, the financier, Ernesto Martel, has just died, while the director, Mateo Blanco, who has since become blind, has plans for writing another film. But what's become of Lena, the girl of both of their dreams, in the intervening years?

Structurally, the movie divides its focus fairly evenly between the two time periods. The intricately plotted narrative unravels like a conventional mystery story, with clues being dropped in at key moments and character connections and motivations becoming ever more clearly defined as the movie goes on.

This isn't prime Almodovar, by any means, but the customary florid melodrama, color-rich palette and elegant direction make it a worthy addition to the director's oeuvre.