Matador

Matador is an early Almodovar work that explores the relationship between sex and violence through the medium of bullfighting. It follows a love quadrangle between a retired matador, his repressed student, the matador's lover, and the student's lawyer, as a series of murders takes place in Madrid. Dark comedy ensues in the midst of murder investigations and extremely loud eighties fashions.

The performances make this decidedly odd film work. Assumpta Serna is great as the lawyer, while Antonio Banderas makes an early appearance as her client. Carmen Maura also has a small role, even though her character is somewhat lacking in development. The characters remain convincing even as the plot spins into the out right bizarre.

Some viewers might complain that the film's explicit sex and violence make it little different from an exploitation film, and indeed it opens with a character masturbating to a slasher movie. Furthermore, its commentary on sex and violence at times seems pretentious. However, the film is far more creative and well made than any exploitation film, and is well worth your time.

If you're a fan of Pedro Almodovar, you'll love this one from 1986.. filmed in Madrid, it has all the usual elements: offbeat characters who meet up and get even crazier, like atoms smashing together. when a young matador Angel (Antonio Banderas at 26) thinks his heroes have committed crimes, he confesses to them to take the fall. watch that opening scene.. .pretty rough stuff: (simulated) sex, nudity, and murder, all in one. his lawyer has her own kinky issues, and wants to defend Angel. Look for the usual Almodovar cast, with Carmen Maura and Chus Lampreave. Assumpta Serna is the sexy, flirty, over-sexed Maria. and the gory bullfights, which play a big part in the story. Secrets. everyone has their secret. which ones will come out? Liaisons... more secrets. will the police find the real killer(s)? it's very good. intrigue.

Essentially seen by many as a warped sex fantasy that uses the codes and conventions of the detective thriller to disguise a darker, more psychological film about the wayward perversions and sinister desires of a seemingly affluent area of contemporary Madrid; Matador (1986) can also be seen as a not-so-subtle comment on the nature of modern-day relationships, aspirations and obsessions in a meta-textual form that makes continual use of its titular, bullfighting motif. Although it does have some slight thematic problems, particularly in terms of the overall tone of the film and eventual motivation of the characters, it is, nonetheless, one of Almodóvar's most interesting and perplexing films of this particular period; featuring a refinement of many of his earliest interests and characteristics from films like Dark Habits (1983) and What Have I Done to Deserve This? (1984), as well as being the film that signalled the move into the second phase of his career.

As the implications of the title would suggest, the film's narrative is bolstered by numerous references, both spoken and visual, to the obvious role-play and iconography of the bullfight. It is also a film about violence, and the sexuality of violence; an uncomfortable idea that is reinforced by the film's provocative opening sequence, in which we find the central matador of the title, Diego Montes, masturbating to violent scenes of exploitation cinema. The scene establishes the nature of the matador, both as a character and as a social phenomenon, as well as introducing the link between sex and death that will come to form an important thematic strand to the narrative. As the story progresses, the mechanisms of the drama conspire to throw together two separate characters that come to complement the unspoken desires and murderous lust that they seemingly share with one another, with the eventual courtship and inevitable seduction presented by the director as a surrogate bullfight in its self.

Where the film falls apart slightly is in the presentation of the character played by Antonio Banderas, a hyper-sensitive, implied homosexual who idolises the matador to the extent that he actually attempts to rape his young, fashion-model girlfriend (an act that eventually leads him to confess to a string of serial killings as a result of his mother's enforced, catholic guilt). It is a complex character, impeccably performed by the young Banderas, but his appearance ultimately sends the film off on a tangent that detracts from the central crux of the drama. Though the inclusion of this subplot does allow Almodóvar the chance to make a satirical comment on the nature of everything from fashion, to religion, sexuality, etc, these themes often feel like they've been handpicked from a completely different film, not always complimenting the central story, and too often leading it in directions that in the end feel unfinished or slightly unformed. Many of these loose ends can be glossed over, while some (the last minute implication of "second sight" as suggested by a solar eclipse) really seem to come out of leftfield.

Nevertheless, these are minor criticisms that don't necessarily destroy the ultimate intentions of the film - which really only become clear in the final scene - or the fantastic direction of Almodóvar and the performances of his cast. Although Matador certainly has its flaws (not to mention its detractors), it is, in my opinion, a fine little film and one of Almodóvar's most original and audacious creations. The performances are all incredibly committed, including the central pairing of Assumpta Serna and the late Nacho Martínez, as well the fine support from Banderas, the gorgeous Eva Cobo and Almodóvar regulars Carman Maura and Eusebio Poncela; whilst the central idea behind the script and the bold stokes of the director's intuitive grasp of the various film-making processes further refines and develops a number of themes that have come to be at the forefront of Almodóvar's career for the last twenty-five years.

Matador is one of the strangest, darkest, (and yet compelling) early films from Spanish master filmmaker Pedro Amoldovar.

It is completely nuts.

Pour in equal measures of sadism, masochism, bullfighting, perverted sexuality, and sexual violence. Add in a splash of comedy and soupcon of star-crossed lovers (if, for a moment, you thought pairing Tybalt and Lady McBeth qualified as star-crossed) and you have what passes as characterisation. Mix dark nights with gaudy flamenco colours and you have some striking cinematography. I'll come to the plot in a minute…

Amoldovar was clearly enjoying Spanish cinema's new-found, post-Franco sexual and artistic liberalism. The prudish among his audience might suggest he was positively wallowing in it. Whatever the truth, Matador is a masterpiece of his style, if not, indeed, a whole style in of itself.

The plot – or possibly a better description, the tapestry over which the characters move – is a murder hunt. Very few prizes will be won, however, for guessing the culprit/s. Two people are quickly in the audience's frame because they are shown… er… murdering people on camera. A third person (Banderas, in to my mind his best Amoldovar role) confesses to the murders in a fit of insecurity and remorse over an attempted rape ("some girls get all the luck" comments a female duty officer dryly, proving that feminism wasn't that big in Spain back in the 1980s). Nevertheless, the net soon closes on the crushingly obvious culprits (who in the meantime have developed quite a crush on each other). As previously mentioned, completely nuts.

Matador's strengths are in its characterisation and its sheer bare-facedness. Amoldovar has, as usual, assembled a character list of freaks and proceeded to humanise all of them – to the point where there is a genuine whiff of tragedy in the final act. To mention the great performances is really to rehearse the cast list. Assumpta Serna, Nacho Martinez, Antonio Banderas and Eva Cobo are all excellent. And it really is worth seeing, just for the young Antonio.

There are some interesting points made in the film about outsiders, liberalism, sexual politics and gender politics (as always with Amoldovar). I'll let you pick through them. It is, though, not so much a film as a giant red rag to the raging bull of conservatism, deftly whisked aside to the ragged applause of an admiring, if somewhat perplexed, audience. A positive Jimi Hendrix of a film, unpolished, with some definite dud notes, but undeniably the work of a genius. 8½/ 10

It is very much worth watching this early film of Almodovar from 1986, with a painfully young Antonio Banderas also at one of his first major screen presences. As many of his latest great movies it's a film hard to put in a precise square, a combination of comedy and tragedy, of crime, love and corrida movie with a touch of absurd and a touch of passion taken directly from life.

Although many of the major themes of passion, sexual desire and ambiguity, relation between love and death are already present the movie is somehow simpler in action and easier to watch than some of the later films. The story of two sexual predators and murderers, united in life by the passion for bull fights and in death by their passion for each other is acted with accuracy by a good team of actors and directed with an already recognizable style by Almodovar. The hand of the young master is certainly already there, and the film ages well 20 years after is premiere.