TRUMAN (2017)

April 20, 2017

 Greetings again from the darkness. Is this a cancer movie? A dog movie? A buddy movie? Well, the answer is yes – at least somewhat – to all three. Writer/director Cesc Gay and co-writer Tomas Aragay offer up an unusually paced and uniquely focused film that is likely to strike a chord with many viewers, while leaving some others thinking, what’s the point? For those of us in that first group, it’s an absorbing ride-along with a not overly likeable character who is out to put his proverbial “affairs in order”.

Two exceedingly talented actors take the lead here and draw us right in. Ricardo Darin (terrific in The Secret in Their Eyes, 2009) is Julian, and Javier Camara (an Almodovar regular, so shuddersome in Talk to Her) is his long time friend Tomas. Knowing his friend is dying, Tomas hops on a plane back to Madrid, from his new life in Canada, in order to spend four days and yes, to say goodbye.

The surprise visit sends the two long-time buds on a kind of (mostly) inner-city “road trip”. Their daily outings include: a trip to the veterinarian so Julian can prepare his dog Truman (a non-puppy Bullmastiff) for the coming change; a doctor visit to convey the desire to cease treatment on the tumors; a bookstore to search for material on pet psychology; a diner where Julian confronts old friends – a lunch that provides significant insight into Julian’s mindset; an in-home visit to a potential pet adoption family; a direct chat proving ‘the show must go on’ with the owner (Jose Luis Gomez) of the theatre where Julian works as an actor; a spur of the moment flight to Amsterdam for lunch with Julian’s estranged son Nico and wife Sophie; and a meet on the street with Julian’s ex-wife. In between, there are exchanges with Julian’s cousin Paula (a very good Dolores Fonzi) who can’t hide her frustration despite offering unwavering support.

There are many wonderfully subtle moments that keep the story grounded and prevent anything approaching the typically over-dramatic movie that we have become so accustomed to. Death and comedy don’t tend to blend well, but there are some charming and even comical moments that sneak in … sometimes during the moments that Julian is expressing regret for things said or done, or not said or done. He attempts to make amends, but this isn’t about the profound moments – no, it’s about the small ones. When Julian mutters the brilliant line, “I used to be a romantic hero”, we know exactly what it means. This isn’t the usual tear-jerker, but it will likely tug at the heart strings, even as it touches on death on one’s own terms (a common cinematic theme these days).

watch the trailer:

 

 

 


TALK TO HER (Hable con ella, Spain, 2002)

January 19, 2014

talk to her Greetings again from the darkness.  Not many writers/directors would put their two lead actresses in a coma for most of the movie.  But then Pedro Almodovar has never been one for a conventional approach.  His creative, challenging and visual story telling is at its peak with Talk To Her.  The Dallas Film Society provided an opportunity for me to revisit this one for the first time since my initial viewing in 2002.  A rare Best Original Screenplay Oscar winner for a Foreign Language film, those eleven plus years have not even slightly dulled the impact.

It’s typically pretty simple to determine what genre a particular film falls into.  Somehow Almodovar walks (and writes) a fine line between love story and horror story … comedy and tragedy. Always an expert at writing interesting female characters, this time he shows the women are the stronger force even while comatose!  The male leads are the ones suffering and dealing with loneliness.  Javier Camara as Benigno is both likeable and suberbly creepy as Alicia’s (Leonar Watling) caregiver.  Dario Grandinetti is stunning as Marco, whose stoic personality can reach dimensions most actors can’t touch. His scenes with Lydia (Rosario Flores) and Benigno are unlike anything ever seen on screen.

The film begins with a ballet piece featuring the amazing Pina Bausch (you should see the 2011 documentary Pina), and the rest of the film features similar pacing … each individual scene and even the film score create the feel of watching a ballet.  There is even a fantasy/faux silent movie sequence within the movie that will cause uneasiness and nervous laughter … while Almodovar again makes the point that the force of women can literally consume a man.

In addition to terrific performances by Camara and Grandinetti, the flashback sequences really allow Ms. Watling (as a fresh-faced dancer) and Ms. Flores (as a confident bullfighter) to prove why these men fell so hard.  One other actress adding interest is Geraldine Chaplin (daughter of Sir Charles) as Alicia’s dance instructor.  Her presence helps tie in the flashbacks and present tense.

While most writers tie up stories with a pretty bow, Almodovar purposefully challenges us to think and feel and dig into our own thoughts and beliefs. He is brilliant (and a bit annoying) with his persistence in making us work so hard. There are decisions coated in gray, rather than black and white.  There are characters who we want to like, but maybe/probably shouldn’t. Pedro’s use of color and texture is fascinating.  This is an example of a master filmmaker at the peak of his craft.  Sure, he has many other excellent films (Volver, All About My Mother, Broken Embraces), but if you only get one Almodovar, make it this one.

**NOTE: The priest in the wedding ceremony is played by Agustin Almodovar, Pedro’s brother and the film’s producer

watch the original trailer:

https://www.youtube.com/watch?v=7fl8tyEIXXI