La mauvaise éducation

This is a difficult film to write about. For one thing, to describe the plot would be to give away the twists and thus spoil its surprises; but for another, it's impossible to take a great work of art and put it into words. That said, here goes:

Truth be told, it was the promise of Gael Garcia Bernal (whom I've loved since "Y Tu Mama Tambien") in drag that piqued my interest in seeing "Bad Education." The only other Almodovar movie I'd seen before this was "Talk to Her," which I was on the fence about, but if Gael Garcia Bernal was involved, I was happy to give Almodovar another shot. (Interestingly, "Bad Education" has given me a new appreciation of "Talk to Her." The two films share a lot of themes -- false identity and self-creation, the willful self-deception and fantasy of falling in love, the spiritualization of aesthetic beauty -- not to mention a hypnotic use of music, an indifferent attitude towards women, and a few actors I recognized.)

Almodovar's genius in both "Bad Education" and "Talk to Her" is his ability to set the scene, stringing the audience along, lulling it into a sense of comprehension and security, and then suddenly turning the tables with a twist of such dizzying magnitude that the mind, reeling, forced to give up on trying to understand, must just relax and allow the movie to take over -- miraculously, all without leaving the audience feeling manipulated. In "Bad Education," he takes this device to breathless, upper-atmospherical levels, for with each twist, the film takes on a new genre.

It begins as a tender coming-of-age story, interspersed with boarding-school flashbacks reminiscent of such French fare as Louis Malle's "Au revoir, les enfants" and François Truffaut's "L'argent de pôche," although I sensed a lot of Fellini in the mod outfits, feathery hairstyles, and picturesque bicycle-strewn streets. Probably the most romantic segment of the film, it alludes even to "Breakfast at Tiffany's" (Henry Mancini's "Moon River" hasn't been employed so creatively since last year's "Angels in America"). Indeed, the performances are so endearing, the cinematography so warm and luminous, that this segment of "Bad Education" could easily exist as its own self-contained movie. I was fully prepared to embrace it and love it as a sincere period romance.

But without warning, the film turns itself upside down and becomes an exhilarating meta-commentary in the vein of Charlie Kaufman's "Adaptation" (complete with crocodiles). Romance turns to farce and tragedy to comedy as the self-consciously cinematic style gives way to the silliness of a movie-within-a-movie.

Unlike "Adaptation," though, "Bad Education" goes on, and in this way it retains its heart and soul. Further twists are introduced, and the movie metamorphoses into a mystery, a thriller, a dark rain-soaked noir -- by the end, I felt as though I had just lived through a hundred years of cinema history, all condensed into less than two rich, glorious hours.

So what holds it all together? The answer is Gael Garcia Bernal. He is a true movie star -- divinely beautiful, dazzlingly charismatic, with that all-important aura of mystery -- and though he virtually plays five characters as his character transforms along with the film, his strikingly calm blue-green eyes and sensual mouth provide a steady center for the madness around him. Despite the rumors of his abusive treatment on set at the hands of Almodovar, Garcia Bernal has a dignity (without which "Bad Education" would collapse under the weight of its own intelligence) that no amount of makeup, wigs, dresses, induced anorexia, or fake Spanish lisping can mask.

"Bad Education" was one of the most intense movie-going experiences I've ever had, and if its future doesn't hold critical acclaim and recognition as a classic, then there's no justice in the world.

It is a very good film, although not as absolutely great as "Todo sobre my madre" and "Hable con ella"... Maybe because "Mala education" is sadder and darker than the previous Almodòvar films, the theme (the child abuse during college years) is disturbing and depressing, of course.

Almodòvar chooses this time a "noir" story. Enrique, a young movie director, looks for ideas for his next film. By chance he meets Ignacio, an old fellow of the college and his first love. Ignacio gives him a tale written by him, about the sexual abuses on him made by a priest during his childhood, in the college. This will be the inspiration for Enrique's movie, but the director will discover another dramatic truth...

In this film the gay element -which exists in all the Almodòvar's movies- comes back, stronger than in his last films. But above all there's the child rape problem, this is one of the most delicate themes the Spanish director has ever talked about. And naturally "Mala educacion" is one of his most tragic films. Whereas in the previous movies Almodòvar always let a place for hope, with this film it's not the case. That's why it is a very difficult tale to watch.

Cinematography is excellent, the music as well (with many recalls to the Sixties songs). Actors are also very good. For Gael Garcia Bernal (we saw him recently in "Motorcycle diaries") this is another solid effort. He portrays Ignacio, he enters the Almodòvar world with all the ambiguity required.

Almodovar's latest film is a tantalizing, hypnotic and sexy mixture of VERTIGO, MEMENTO and MULLHOLLAND DRIVE. It's Almodovar's meatiest and most complex script in years. Although you may be confused early on as you're trying to figure out whats going on, its all revealed later and very satisfyingly. Gael Garcia Bernal is outstanding in his multi-dimensional, multi-character performance. Alberto Iglesia's music is wonderful--a homage to Bernard Herrmann.

The film is rated NC-17, which has more to do with the MPAA Board's homophobia than anything else. Sure, its a sexy drama with elements adult plotpoints, but had the sex scenes in this film been between a man and a woman, rather than two men, this would have easily gotten an R rating. All of the sex scenes are artfully filmed (there is no frontal nudity) and even the subplot concerning a pedophile priest is handled with care.

Enrique is a film director working on his new project when an old school friend, Ignacio, arrives looking for acting work. Enrique fobs him off with excuses and Ignacio leaves him with a story he has written called 'The Visit'. The story is based on their childhood together as well as having a totally fictional section where Ignacio (Zahara). As Enrique reads the story it takes him back to his childhood effectively where they fell in love as boys before being separated by Father Manolo who also loved Ignacio. When he decides to make the film of the story it only serves to spark more memories as well as bringing revelations.

When I read the plot summary for this film I assumed that it would be difficult to penetrate (pardon the pun) and that I would struggle to follow it. Now that I think back on it I wonder how on earth I managed to follow a film that has threads and characters that don't exist even within the film and it is to the film's credit that it works really well. The film appears to have about three of four stories but really it is only one story that we are being told and a very effective story it is. It is engaging and very well written – we care about the characters even as they change and trick us. Only the final 20 minutes appear to be unsure of themselves and it is here that the film drags slightly, but at till this point it is all great. This is not to say it is an easy watch because it isn't.

If you are homophobic then this is not the film for you – I am used to seeing shows (Oz, 6 Ft Under) where such acts are portrayed but I was taken aback by the graphic nature of the acts here. I don't mean you see anything but it leaves very little to your imagination. This is not a problem – it's just that many men may find this difficult to watch. Likewise scenes involving mutual masturbation between young boys is hardly something that one can watch without feeling slightly uncomfortable. However the one thing the film does through all this is deliver good characters. As much as I couldn't watch Ignacio licking his fingers to wet his 'area' and ease penetrate I still liked him as a character. Even more pleasing was the fact that the film never makes Father Manolo a monster; of course there is no sympathy for the man in the film but it could have just made him a lecherous beast who the audience immediately hate – a pantomime villain – but the script creates a more complex character.

The cast do a great job of delivering these characters and they make it work very well even if come of them have to change characters midstream or be one of several actors playing the same character. Martínez plays the most consistent character in the film and he does well with a good part, even if he has a less showy role than some others. Bernal has the most difficult role and he does really well to keep the audience with him while delivering all sorts of roles! If nothing else he is a brave actor and he deserves good parts to do more work like this. I don't know the rest of the actors by name but I enjoyed the other queen in the fictional part and also the guy who played Manolo in the fictionalised and childhood sections. Boira's Ignacio lacks subtlety and is overblown – but by his point of the film I think that was the whole point.

Overall this is far from most people's cup of tea – even those used to seeing art films may find it hard going due to the graphic simulation of the sexual acts within the film. But despite this the film is really well delivered. Many Almodóvar fans have said this is one of his lesser films but I cannot agree when I think of the skill he displays in keeping the difficult narrative together. The characters are mostly well written and the story is engaging even if it flags a little bit at the end.

The latest film by Almodovar after the awarded All about my mother and Talk to her has divided the public opinion. Part of the audience say its the continuity of the director's talent and the other part does not like the film at all. But this division has always happened with Almodovar films, you love it or you hate it.

Of course the subject of the church and the pederasty has provoked scandals, like the cancellation of the film in many French cinemas, but despite this fact the film has been the one chosen (and the first Spanish film) to open the Cannes festival.

In the film we can feel Almodovar touch everywhere: the tremendously deep characters, the unbelievable plot and the colourful scene as well as in the camera angles. All this things make Almodovar maintain a fidelity to his style. Another curiosity is the cameo that the director's brother, who appears in most of his films, does, in this case as a pool cleaner.

The Gael Garcia's acting, without Mexican accent, is wonderful and he shines as a travestite femme fatale, an icon to noir films, just as Almodovar likes to describe the film.. The atmosphere of the film carries us to the 80s thanks to its perfect job of decoration and wardrobe documentation .