Tacones lejanos

Released internationally as 'High Heels', the actual title of this Pedro Almodóvar comedy translates as 'Distant Heels', an idea of significance towards the end of the film as events take a sharp dramatic turn. Whatever the case, summing up what exactly this film is about is not easy as it is an unpredictable ride throughout (in the best sort of way) with lots of surprise revelations and plot twists and turns; the characters also often do what we least expect of them. In short, the film might be best thought of as Almodóvar's take on 'Autumn Sonata' - which even gets explicitly mentioned - as the plot focuses on a successful television news anchor and her resentment of her diva mother who traumatised her as a child. As the plot unfolds, we learn that she married one of her mother's former beaus. Did she do it for revenge or to humiliate her mother or was it simply a coincidence? As the plot thickens and something happens to her husband, even further questions arise with regards to her intentions, and it is perhaps best not to say more to avoid ruining a fresh experience of the film. While the narrative sometimes feels all over the place and not everything that occurs is especially credible (especially the jail that seems more like a summer camp!), the film has an undeniable charm to it. Miguel Bosé also has one surefire interesting character that raises questions about personal identity and role-playing, which is part of what the film is about: the two female protagonists coming to accept their roles of mother and daughter, career aspirations and other concerns aside.

Do you have one singular childhood memory that would seem insignificant to the rest of the world? Rebeca does and it has defined her life of trying to be somebody that her famous mother will notice.

Rebeca and Becky's final realization of each other's own self finally comes in the unselfish gesture that defines motherhood -- sacrifice.

Although this movie is listed as a drama, the madness surrounding most of Almodovar leading ladies is ever present. Raunchy and racy, as well as tender and sweet, this movie is well worth the look if you can find it.

A girl's mother returns after fifteen years to find her daughter has married one of her (the mother's) old boyfriends. They try to mend their broken mother/daughter relationship and deal with their common lover.

Roger Ebert said that "Pedro Almodóvar's films are an acquired taste, and with High Heels I am at last beginning to acquire it." I can understand this. Some of his work I like an some I think is just alright. This film happens to be one I liked, combining the Almodovar use of color with some interesting plot and character twists.

I do not recall if I have seen Douglas Sirk's "Imitation of Life", which this film was in part inspired by. Either way, it makes me want to see it now because Sirk was one of the best of his generation and it is no wonder he has inspired so many (though mostly in Europe, it seems).

I like the films made by director Pedro Almodóvar and 'Tacones Lejanos' ('High Heels') is no exception. Even his lesser film ('Kika') have something to enjoy, most of all because they are so very different from other films you have seen. Like a Tarantino-film, an Almodóvar-film is sort of like a genre on itself. Although Almodóvar reached greatness with 'Todo Sobre Mi Madre' and especially 'Hable Con Ella', his earlier films like 'Mujeres al Borde de un Ataque de Nervios' and this one are a lot of fun. He mixes so many genres here, uses symbolism in such an effective way, the least thing it does is being original. I guess there is nothing wrong with that.

The story involves a daughter Rebeca (Victoria Abril), her famous mother Becky (Marisa Paredes) who returns to Spain after fifteen tears, a murder that could have been committed by Rebeca, Becky and a third suspect, Judge Domínguez (Miguel Bosé) who is on the case, and a lot of colorful supporting characters. I could tell you more but the plot is not really the issue here. Although this films sounds like a drama, maybe a detective or a thriller even, it is closer to a comedy because of the way Almodóvar handles the absurd situations. There is a scene where Rebeca, an anchorwoman, tells something about the murder where she herself is one of the suspects. Next to her sits a woman who does the news in sign language. The whole scene, which is dramatic in what it tells us, is one of the best moments of comedy I have seen.

Of course the themes here are really dramatic. Not only we have the murder, we also have Rebeca who has wanted to impress her mother her entire life. It is just that Almodóvar creates a world that reminds you of a soap opera that can bring comedy out of every dramatic event. That his film is more serious than you might think is proved by the symbolism he uses. Scenes where Rebeca is temporarily in prison show her in a symbolic way how she feels. In another beautiful scene we see Rebeca driving her car, but it is the wall on the background that draws her attention. It is like her entire life is written on the wall. Almodóvar who loves to use bright colors finds an effective way here to use them, representing the state the character is in. It is not only effective it is quite beautiful to look at as well.

A very enjoyable, intricate tale that elevates its somewhat mundane plot by turning things in a new direction whenever it starts to get stale. It's got a lot of the usual Almodovar stamps: high melodrama mixed with black comedy, insane coincidences, twisted relationships and of course dazzling use of color. Early on the theme of mother-daughter rivalry reminded me of AUTUMN SONATA, so I was quite tickled to hear the relationship being directly compared to that film later on. The movie doesn't have the magic of Almodovar's best works, perhaps because the performances as a whole aren't that impressive. However, even second-tier Almodovar is better than most stuff out there... it's got some really good laughs and an engaging series of twists and reversals. The out-of-nowhere prison dance scene is delightfully offbeat (although I felt like Almodovar was actually holding back a bit).