Ata-me

An unbalanced but alluring former mental patient (Antonio Banderas) takes a porn star (Victoria Abril) prisoner in the hopes of convincing her to marry him.

How can anyone deny the beautiful, almost dreamlike use of color in this film? Trying to find anything comparable is a challenge. The musicals of Jacques Demy? No, not even those.

"Tie Me Up! Tie Me Down!" comes from a strong pedigree, as it follows in the myth of Beauty and the Beast and the notion that the savagery of the Beast is, in the presence of Beauty, tamed by gentler feelings. This has been a recurrent theme in films like "King Kong", "Frankenstein" and "Tarzan the Ape Man". Some have even drawn parallels to "Seven Brides For Seven Brothers" in that kidnapping can lead to romance.

The soundtrack was composed by Ennio Morricone in the style of a thriller and is reminiscent of Bernard Herrmann's score for Alfred Hitchcock's "Psycho". This music changes the whole tone. Some consider the film a "dark romantic comedy" and others even say there is a hint of horror in there. Much of the mood relies on the music -- with a lighter tone, this could just be an "offbeat" romantic comedy and not a "dark" one -- there is very little about the film that is dark besides the music.

Ricky is a charismatic 23-year-old who has just been released from a mental asylum. He has no goal in life but to settle down with Marina Osorio, a famed porn actress whom he once had a one-night stand with. The first step in his seduction technique is to force his way into Marina's flat and tie her to the bed. From there, as time marches on, Ricky is sure she will have no choice but to fall in love with him. In his mind, it's a fool-proof plan, though the realities of the situation prove to be a lot more complicated, as we see in Pedro Almodóvar's brilliant 'Tie Me Up! Tie Me Down!'

A darkly comic love story, 'Tie Me Up! Tie Me Down!' is funny, unpredictable and thoroughly enjoyable. Written by Almodóvar, Ricky and Marina's story is off-beat and surprisingly heartfelt. His dialogue is quick and sharp, and while his characters are all humorous creations to be sure, they are also multifaceted ones of depth and intelligence. They leave an impression on the viewer, and watching the narrative unfold around them is a delight. The film's examination of relationship structures is one most percipient, and Almodóvar's subversion of the traditional courting routines is wickedly clever. The themes involved therein are explored maturely, and- all in all- it's a great, dark little tale that'll keep you entertained throughout.

'Tie Me Up! Tie Me Down!' is a visually stunning watch, boasting stylish cinematography from José Luis Alcaine. Under Almodóvar's direction, he makes terrific use of space, texture and especially colour. His second collaboration with the director, Alcaine's utilisation of primary colours in the film is arresting, particularly of the reds and oranges; which linger in the mind long after the credits have rolled. It's a highly stylized film, with some extremely artistic shots that captivate the eye. Credit for the overall look of the film must also go to art director Ferran Sánchez and production designer Esther García, whose efforts have helped form the multicoloured spectacle that the finished flick is.

The film features a score from the late, great Ennio Morricone, arguably the king of the motion picture soundtrack. His work for 'Tie Me Up! Tie Me Down!' is delicate and beautiful, adding no small amount of majesty to the proceedings; with the track 'If You Knew How Many Nights' being particularly haunting. Also of note is José Salcedo's editing, which is swift and flawless; with scenes cut together seamlessly. Additionally, José María de Cossío's costume design is intricate and detailed, and his costumes for Marina are especially rich.

'Tie Me Up! Tie Me Down!' finds Victoria Abril and Antonio Banderas starring as Marina and Ricky, respectively. Abril is terrific, and gives a spirited performance of tenacity and wit. An incredibly likable and talented performer, she gives the role her all and holds nothing back. She is matched by Banderas, who brings boundless charm and intensity to Ricky, making him a most lovable madman. Together, they work wonderfully, sharing an electric chemistry that seems genuine. From the supporting cast, Loles León and Francisco Rabal stand out, giving hilarious performances that are highlights in both of their filmographies.

Original, funny and heartfelt, Pedro Almodóvar's 'Tie Me Up! Tie Me Down!' is a marvellous black comedy that impresses on every level. Featuring an assured visual style and terrific cinematography from José Luis Alcaine, as well as an emotive Ennio Morricone score, the movie has a lot to offer viewers. Strongly acted and cleverly written, the film is a colourful and crazy love story that is sure to entertain and amuse any who watch it.

It's safe to say that even in a film by Pedro Almodovar that is only marginally successful within the margins there are some good, steamy, questionable times to be had. I can just imagine Pedro sitting in front of his notebook just figuring out ways to mix sex, film-making, kidnapping, and other lewd exercises into some kind of cohesive single film. What makes a very good chunk of Tie Me Up, Tie Me Down exciting satirically is that Almodovar never gives in to making anything TOO serious. Which is perhaps what ends up transitioning the situation Ricky (Antonio Banderas) and Marina (Victoria Abril) are in from the absurd and flirtingly masochistic to the (ironically) conventional and quasi-sweetness that is obviously deep in Almodovar. Perhaps the tying up and re-tying becomes part of a metaphor on the filmmaker's part, that despite it being something very dangerous and totally provocative it's also inviting in ways that would be elusive otherwise. Then again, that the material does (mostly) work, by being so disturbing in the bluntness and perpetually deranged mind-set of Ricky, but then in the human connections that are enhanced all the more. If only the motivations- even in such loose and wacky-Almodovar circumstances- were a little more convincing.

Nevertheless, I liked a lot about Tie Me Up, Tie Me Down up until it goes off the rails with its logic turning into knots (simply, I just don't buy that Marina falls for Ricky just like that, even if she was an ex-junkie porn star, and Ricky's advances are like that of a uppity, headstrong but shy 13 year old, a slight reminder of A Life Less Ordinary's bizarrely innocuous kidnapping turned romance). Chiefly, the performances and the usually arty-yet-trashy style from Almodovar and his crew. Banderas is, by the way, in one of his best and funniest performances here, a near emblem of the male ideal for a life with a woman, and a with an innocent yet fervent attraction to bondage, with that perfect look in his eyes detailing all even in brief moments. Yet there was something about his stay in the mental home all those years that did something to his ideas towards sex and what it is to live, and Banderas captures this mix of intense sadism crossed with the heart of an old Hollywood-studio leading man who will do anything to brush the leading lady off of her feet. Abril is always believable too, even when Almodovar gives her character a turn around into something more akin to an exploitation film, however sweet it tries to be. While she decides to underplay her immediate fear of her kidnapper, it works to add a level of comic timing to Ricky's own odd-ball ways. They make a great pair, really, especially when it comes to that 'turning point', where Almodovar uses his unique style to get five ceiling-mirrored shot of a pivotal scene.

There's also a fantastic role of the director of the film Marina is starring in at the start of the film, the aged Maximo Espejo (Francisco Rabal, who's been in countless films including the Eclipse and Belle de Jour), who has the ideas burning and changing around at a beat as to what his ending will be for his actress- death, being saved, something else? His moments on screen display a richness that lies often in Almodovar's script, where the surreal pressures of shooting the movie for Maximo somewhat carry over- and sort of dissipate as the characters become vulnerable- into that realm where reality and un-reality cross paths. This is heightened, and made a little additionally conventional, by the musical score, which like many of Almodovar's work is a tip of the hat to Herrmann compositions and old Hollywood romantic classics. There's even an emotional upheaval when Ricky and Marina meet again on that balcony overlooking the vista. The wildest thing about the picture is that one does become absorbed in the push and pull relationship between 'kidnapper' and 'kidnapee' (I quote that for its a little redundant to use those terms as the film goes on), and that these f***ed up people are practically the most average couple you'd ever meet. There's sensational comedy stacked in there too, in Ricky's behavior (moustache), the film within the film being shot (that strongman character is amazing), the random TV commercial about Spanish retirees, and just the consistent absurdity in the repetitive, ritual-side of the tying up and down. But there's something missing in Almodovar's third act to live up to the better parts early on, and he chickens out on really making this a much better, more challenging effort. I'll probably watch it someday again though, if only for Banderas and Rabals' performances.

Antonio Banderas was truly in his form and height of career when he was cast in Almovodar's Spanish movies. Banderas portrayed innocence and simplicity of character in these early movies that Hollywood always seems to make large and gloss over any sort of character development. There is something that Hollywood seems to drain away and leave behind in the character of people, yet Banderas/Almovodar capture so perfectly the average man/woman and portray them in interesting ways. Atame (Tie Me Up, Tie Me Down) is a delicious little movie about a crook who falls in love with an actress. To get her attention, he kidnaps her and the fun begins. Almovodar's movies are always filled with quirky characters, funny dialogue and plot twists. To see Antonio Banderas at his finest playing a simple man who falls in love but has some issues..Atame is a cute, touching movie to rent.

As this film opens Ricky learns that he is to be released from the mental institution that he has been confined to for the last few years. Upon release he immediately sets about finding Marina, a woman he spent the night with after escaping a year previously. Marina is now a 'proper' actress but at the time she met Ricky she was a porn star with a drug problem. Ricky goes to the film set then follows her home; once inside her apartment he knocks her out and ties her up. When she awakens he tells her that it is his intention that she will fall in love with him.

I found this film to be a lot of fun; it is frequently very funny, occasionally very sexy and more than a little bit morally twisted! Victoria Abril and Antonia Banderas are really solid as Marina and Ricky making it is easy to believe their characters' rather different relationship. Early on there is a sense of menace as Ricky kidnaps and threatens Marina, this however is tempered by various more humorous elements such as them needing to get medication for her toothache and Ricky's disguises in a couple of scenes. The way the story is filmed is more in the way of a romantic comedy then anything menacing; lots of bright colours and an airy apartment rather than subdued tones and some stark grey cellar. Some may find the ending rather offensive but if you don't take the film too seriously it is easy to accept and enjoy. Overall I'd certainly recommend this to anybody looking for a 'rom-com' with a twist; it won't be for everybody though thanks to the way our two leads get together.

These comments are based on watching the film in Spanish with English subtitles.