La Loi du désir

Outrageous, extremely enjoyable, over-the-top melodrama about a straight psychopath (Antonio Banderas) prepared to go gay to further his career with a homosexual film director (Eusebio Poncela). A feast of familiar faces for anyone familiar with Almodovar's career. Carmen Maura as the director's transsexual sister, happily dispensing cocaine to hospital patients, knocking out policemen and engaging in the in-scene to end all in-scenes with the beautiful Bibiana Fernandez, the mother of her adopted daughter, when anyone in the know would recognize Fernandez as Spain's most famous transsexual in real life! About halfway through, Almodovar's loopiness slips into high gear and the laughs come thick and fast. Just don't expect too much believability towards the end. Interesting to see so many faces from Almodovar's pitch-black comedy Matador, made the previous year and in this viewer's opinion far superior. Still, Law of Desire is too way over the top not to be enjoyable. Just don't throw your popcorn at the screen.

THE LAW OF DESIRE opened the 1987 Miami Int'l Film Festival. Almodovar and Carmen Maura had already broken through to the American market at this event with WHAT HAVE I DONE TO... a few years earlier. So it was surprising to find them pacing nervously up and down the lobby of the C.Grove Playhouse at THE LAW's North American premiere. They were also in and out of its rest rooms, as the sold out audience roared in laughter and applauded the film, and I was making an early dash to the post-premiere party at the Viscaya Palace. They were acting just like the neurotic characters they bring to life in this and their other films. They were still insecure and frustrated that their huge popularity and celebrity status in Europe was reduced to a recent, almost cult, following in the U.S. They needn't have worried. The film confirmed both of these artists along with Antonio Banderas as stars among North American art movie lovers. (This achievement would be crowned the following year with the triumph of their next collaboration: the Oscar-nominated WOMEN ON THE VERGE...) But THE LAW OF DESIRE will be remembered as Almodovar's self-confessed most personal work, and the masterpiece of his earlier career. This film is pure Almodovar, before he toned down to more mainstream fare. LAW... resumes the Almodovarian style, in all its excesses. It features most of his muses, beyond Maura and Banderas: Rossy dePalma, Bibi Anderssen, Eusebio Poncela, and the rest. His style as a writer/director of women goes over the top here, as does his predilection with telephones, the police, drug use (cocaine in particular), the media, dysfunctional families, sexual ambiguity, the Catholic Church, and the city of Madrid. Almodovar fans will note that all the above themes permeate his work. But nowhere are they so well linked and exposed as in this landmark film.

I once read that Pedro Almodovar wanted to reach out his audience via their hearts, their minds and their genitals, with this, my first experience with the director, he most certainly sticks to his aims. The film opens with a young man masturbating upon the orders of his director, from here on in the tone is set for what is, a bonkers, yet highly entertaining picture.

The plot revolves around the sexual adventures of gay director Pablo Quintero and his transsexual sister, Tina, her struggle with men and the duty of bringing up a young daughter who she fathered when she was a he!, still with me?. Into their lives comes Antonio Benitez, he's sexually fascinated with Pablo but gets his nose put out of joint upon learning of Pablo's love of another guy called Juan, things are about to get darkly unnerving.

Law Of Desire is stylish and full of tricky eccentricities, it's also very much in your face with its blatant urge to be seedy, however it's backed up by wonderful performances from Antoino Banderas {Benitez}, Carmen Maura {Tina} and Eusebio Poncela {Pablo}, whilst it's director is clearly a talent that was, at this time in his life, making films with attitude and a devil may care spirit. 7/10

One of director Almodovars early films--and one of his best. A gay writer is basically stalked by a psychopath. The films manages to weave together comedy, drama and tragedy and make them all work! Also it manages to work in fairly explicit gay sex scenes and male nudity without it being exploitative--it just fits the storyline and characters. The movie takes a serious misstep about halfway through, throwing in a murder, but manages to regain its footing. The acting is pretty good--not great. Antonio Banderas is so-so as the psycho. I give him credit for engaging in gay sex scenes with no hesitation (I'd love to know what he thinks about this movie now!). The best thing about the movie is the direction--even when the story bogs down in spots, there's always something to look at on screen. Almodovar knows how to make films look beautiful and he, somehow, manages to have the settings fit the tone of the scene. How many directors can you say that about. An excellent film--well worth seeing. But if you're offended by explicit gay subject matter, stay away.

This is my second favourite Almodovar film, after "Hable con Ella". It reveals the depth of the characters' feelings with such subtlety and delicacy that as viewers we find ourselves unable to judge the characters' actions. We are puzzled by the intensity of their desire, love and misery in the same way that we are puzzled by Benigno's deep loneliness and longing for love in "Hable con Ella". In "La ley del Deseo," murder and suicide become extreme natural consequences of the characters' love and suffering. We cannot condemn the murder any more than we can condemn the rape in "Hable con Ella".