Parle avec elle

On watching "Talk To Her", one of the first things you will notice is the beauty of film-work involved. The colours are rich and saturated, the image is crisp and the camera work is superb. Smooth panning shots and steady zooms guide you safely though s slightly fractured narrative, cutting between the past, present and future on occasions.

This discontinuity, however, isn't confusing to the viewer and is, in fact, far from it. The cast act and speak so clearly that it is a perfect introduction to anyone new to foreign language film and, aside from the minor plot-line of bullfighting, there aren't an abundance of Spanish cultural references.

This film, essentially, is a complex story laid out in an extremely simple form. It is not a film you will forget and, no doubt, will think about a lot after watching it. Also, unlike a lot of critically acclaimed films, you will not be cogitating over the events that took place in the film, you will be asking yourself how they apply to your life and relationships with others. Despite "Talk To Her"'s tragic story, it is an incredibly fun film to watch and discuss with others and a film I am extremely glad I added to my collection, having heard little about it at the time I bought it. 9/10

TALK TO HER (2002) **** Javier Camara, Dario Grandinetti, Leonor Watling, Rosario Flores, Mariola Fuentes, Geraldine Chaplin. Filmmaker Pedro Almodovar once again creates a cinematic masterpiece in his ongoing quest to bring together the war of the sexes as a harmonic convergence this time in a somewhat surreal matter involving a male nurse (Camara) and a tough yet sensitive journalist (Grandinetti) who form a unique friendship when his girlfriend, a bullfighter (Flores), is gored and sent into a coma landing her in the hospital where Camara is taking care of his ‘beloved' (Watling), a dancer, who he has fallen in love with her when he (in a sense) was stalking her. Love, sex, desire and social ills fall into one heady mix of melodrama, soap opera fodder and a sprinkling of comedy as well as a memorable foray into silent cinema with `The Shrinking Lover' (think of an NC-17 version of `The Incredible Shrinking Man') that actually serves as a Greek chorus as to the happenings occurring. Controversial, bold and audacious in its execution yet ultimately haunting, harrowing and altogether human (and humane). One of the year's best films.

Benigno and Marco are both lonely men, Marco because his lover, a woman bullfighter, is in a coma, Benigno, a thirty-year old virgin Momma's boy, from habit. Both are in love, too (Benigno, a male nurse at the clinic, slavishly tends Alicia, a comatose accident victim, for a living). It is he who gives Marco, with whom he strikes up a friendship, the eponymous advice: talk, and your heartfelt monologue will be more meaningful and therapeutic than any marital dialogue.

Seeing Almodóvar's latest film was one of the most pleasurable cinema experiences I have had for some time. He has over the years amassed the technical skill and maturity to put across quite complex stories in a deceptively simple language. From the shock tactics and punk aesthetics of Pepi, Luci, Bom, y otras chicas del montón (1980), to the Oscar-winning melodrama of All About My Mother (1999), he had already come a long way. Here, finally, was an interweaving of the lives of disparate characters that was not only unabashed in its excess (it always had been), it actually made you care – deeply.

More bullfighting

At first sight Hable con ella looks like being another case study in that famously offbeat, not to say queer, book of life according to Pedro. Almodóvar's scenarios have been no strangers to sex, drugs, and heartrending canción (a particular brand of overwrought singing which knows no real Anglo-Saxon equivalent). In Hable con ella we have bullfighting, a theme he used as an excuse for kinky sex in Matador, given a contemporary treatment in the person of 'torera', Lydia (female bullfighters are indeed beginning to compete in a man's profession). Here too we have the apparently off-the-wall and by now notorious scene from the film-within-the-film, El Amante Minguante, in which a shrunken hero takes refuge in his lover's vagina for protection. But neither is gratuitous gesture: Lydia is designed to counterpoint Marco's almost feminine sensitivity, and the latter sequence, far from being there to shock, is a metaphor to spare us a far more harrowing, and morally problematic, plot truth. The ability to turn kitsch into art is increasingly one of Almodóvar's defining features.

Post-modern?

While he often refers to other artforms in his films (reality TV in Kika, Ruth Rendell in Live Flesh, canción in High Heels), since All About My Mother the technique has become more assured. Where that film was a paean to female suffering, via All About Eve and A Streetcar Named Desire, in Hable con ella we have two men sharing a tear over a performance by the dancer Pina Bausch. Other references are the Brazilian singer Caetano Veloso, who sings at a party attended by (uncredited) Cecilia Roth and Marisa Paredes (from Mother), and Michael Cunningham, whose novel The Hours similarly has a tripartite structure where each section deepens and sheds light on the others ('tunnels in caves'). In other words the post-modernist borrowing is rendered invisible by being absorbed into the drama: it is not post-modern any more.

Almodóvar's choice to make a film about the loneliness and longing of men is a courageous one for a very private celebrity, a gamble to follow what might have been the peak of his career, and one which whets our appetite for what is to come.

I had absolutely no idea what to expect when I watched 'Hable Con Ella'. All I knew was that it was directed by Pedro Almodovar, who is considered as one of the biggest talents outside of Hollywood. Well, he certainly has some talent. A talent to make movies that are not always easy to watch, but certainly thought provoking, beautiful, compelling and stylish.

'Hable Con Ella' tells the story of two men who are in love with a woman in a coma and how they both handle this in a different way. They meet each other in the hospital with a beautiful friendship between the two men as a result.

Pedro Almodovar is some kind of artist who likes to paint with words and images. As a result you get a beautiful tale about obsession, love, friendship and desperation, which may not be to everybody's taste because of the bizarre subject, but which certainly touched me. It's very original and I would recommend it to everybody who isn't afraid to watch a movie with a special subject. I give it a 9/10

Rating **** out of ****

Spanish Writer-Director Pedro Almodovar is a filmmaker that always captures strange, and honest moments within his characters emotions-especially women. Such films as "All About My Mother", and "Women on the Verge of a Nervous Breakdown" support this, but in Almodovar's latest film "Talk To Her"--he does something a little different by making men the protagasnits. It's brilliant, unique, and creative filmmaking at its best. However beneath all the brilliance is a lovely, sweet film that is charming in its own little way.

Almodovar crafts "Talk to Her" with a style that is unique in color and tone, and it has behavioral exposition that is far more mature and tonally sustained than anything he's done before. But the plot is insane as anything that Almodovar's has done before, which makes the movie more of a career-peak change, its a masterpiece constructed on the solid foundation of everything he's previously tried and learned. The movie's great, bad-boy conceit is that its two heroes, wounded-in-love journalist Marco (Dario Grandinetti) and naive nurse Benigno (Javier Camara), are hopelessly in love with women they can't communicate with -- and that really gives the two guys something to talk about, as well as a base for the strongest of friendships. Not that their women are intentionally unreachable; both, you see, are in comas.

By the end of this crazy, heart-thrilling tale, Almodovar has delivered us through un unexpecting film of humor, human emotions, specific human connections, remorse, and philosophies. "Talk to Her" is more than just a run of a talked about foreign film, and having Oscar-Nomination potential-it is one of the best movies of 2002.