Talons aiguilles

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).

I have seen almost all Almodovar films, as he is a unique and eccentric director with vision. Eccentricity is not the case with this one. Humour is almost absent. Maybe you have by now figured out I prefer other, more humorous and provokative Almodovar films. Not that it's no good. It is, with tight acting and nice storyline. It didn't touch me though, as it was supposed to, and as a friend suggested. See also other Almodovar reviews by me to see what I mean.

For something completely different from this, see the next film of Almodovar, 1993, KIKA, as well as LABYRINTH OF PASSION, MATADOR. Blasphemous, humorous, explosive! Whatever the case, I should recommend this to people who saw other more exessive Almodovar films and didn't like it. This is much more serious, with firm storyline and great acting by everyone, as well as TALK TO HER.

Aldomovar is one of the few male directors on the planet who is a true artist and painting a portrait with female emotions. Using garish sets, outrageous humor, and witty songs, Aldomovar expertly juxtaposes the absurdity of what we fleetingly but devoutly believe is truly important with eternal truths. If you speak Spanish, then you are privy to another layer of wry duality that really doesn't translate through the subtitles. Abril is remarkable as the returning mother finding things turned upside down and ultimately doing it one or two better. Highly recommended.

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).

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.