Almodova always likes to use women as the motif of his works, but in fact this In the story, the two lonely and helpless men in the film are the focus of the narrative. Neither Alicia, Lydia or Marco’s ex-girlfriends dominate the narrative in the film. On the contrary, the hearts of the two lonely men were fully revealed. However, we can feel that the Almodovar female motif has not disappeared in the film. If we think carefully about the two people Marco and Benino in the movie, they all have a feminine temperament in their fragile souls.
There are at least four scenes in which Marco shed tears in the film. For the first time at the beginning of the film, when Marco and Benino watched "Muller's Cafe" in the theater, Marco couldn't help crying. This is why Benino noticed that Marco and Marco found Benino in the hospital. Originally, some commentators believed that "Muller's Cafe" was what Pina Baush discussed "the strange and powerless understanding between lovers, the anger gaining intimacy and security". The play originally involved four protagonists, and the plot was more complicated. Roughly speaking, people try to find a combination of support and support, but everything is considered futile. However, the passages Almodovar showed us in the film are a little different. We can see Benino telling Alicia about the day of the performance after returning: the
stage is full of tables and chairs, and two women come out in pajamas. , Eyes closed, like two sleepwalkers. It makes people worry about what they will run into. Suddenly a man appears with a sad face. The saddest face I have ever seen, he moved the desk and chair away. You don't know how touching it is!
In the original play of "Muller's Cafe", the messy tables and chairs on the stage were originally the absence of more strangers (or physical presence and symbolic absence), expressing the difficulty and disagreement of people's communication. possible. But the man on the stage in the film is struggling to protect the sleepwalking and painful woman. Therefore, because Bannino received a different interpretation of Alicia's care, he was moved. However, Marco saw more of the meaning of the original stage play. He thought of his unforgettable ex-girlfriend, so Marco cried.
In tears for the second time, Lydia has entered Marco's life, although it is difficult for us to judge Marco's original intention to contact Lydia. When Marco helped Lydia deal with the snake in the kitchen and returned to the car, Marco shed tears again, also because he remembered the scene of him and his ex-girlfriend catching snakes on the night in Africa. Marco did not tell Lydia at the time, but at this party in the garden, Marco told him when Lydia found him crying for the third time. As some netizens said, the song Caetano Veloso's "Cucurrucucu Paloma" (the music used by Wong Kar-wai in "Happy Together"), the song that made Marco cry in the garden party, sang so heartbreaking and shaking the soul. We can look at this song's lyrics, can understand Mark feelings
they say in the evening
Nomas away tears
never haggard
Nomas decided to leave
believe that rocked the sky
when they heard her cries
It's like I'm sad for her
to know When she died, I was calling her
oh oh oh... singing oh
oh oh yeah ... whimpering oh
oh oh oh oh... singing and
passing away enthusiasm... already dead
A sad pigeon
got up early in the morning Sing
to a lonely hut with the
little door open and
they swear this pigeon
Has a firm soul
still looking forward to
the unfortunate girl back
Gugu Gu pigeon call goo ...... ah
Gugu Gu call goo ...... Do not cry ah
rock pigeons ah ...... do not know how
they do not know how to love
Gugu Gu cuckoo call Gu Gu Hu Gu
Lydia wanted Marco to forget his ex-girlfriend, but Marco had been immersed in the memory of traveling the world with his ex-girlfriend, so he cried again. Similarly, Marco did not tell Lydia at the time, but told Lydia's past stories while crying at the wedding to the playing field where she was killed. (This flashback is exactly Almodovar's brilliance, which will be discussed next) He told Lydia that he did not cry this time and Lydia had concealed a secret she would never have a chance to say again. She said, "I want to talk to you." Marco said, "Aren't we talking all the time?" Lydia said, "That's you alone." Both of them couldn't be immersed in the memories of the past. Then share something too beautiful with your beloved and cry.
For the fourth time, Marco learned of Bannino's death and went to collect the relics left by Bannino, including his room. This time it was Marco hiding a secret that he would never have a chance to say again, making Benino choose to sleep forever. Almodovar changed Marco from a secret object of concealment to a secret holder, and Benino changed from a passionate and emotional talker to a lonely and sleepy talkee, but at the same time made Alicia from a coma. The person becomes a sober person (and the role change between these four people has always been based on a delicate triangle relationship, and the role is from Marco>Benino>Aricia and Lydia> Marco>Benino). Almodovar's narrative style strips off the cover of this transformed emotion.
And Benigno embodies the feminine temperament, and has always been regarded as a homosexual, so there is no need to say more here. As he himself said, he took care of his mother for 20 years, took care of Alicia for 4 years, and learned makeup, embroidery, and cooking. We see Marco finally lying on Bernino’s bed with the embroidery that Benino made for Alicia at the beginning of the film, which says AyB (Aricia and Benino). His meticulous and sensitive soul is also full of feminine qualities. In a few chats with Alicia, he learned of her love for silent films and travel, so in the four years he considered the most fulfilling, how many he had watched Silent films and ballet come back to speak for the unconscious Alicia. He also read to Alicia the travel book Marco wrote for his ex-girlfriend. In prison, he himself confessed that he was like the Cuban woman in the book, watching the passage of time and nothing happened.
Regarding whether Benino really loves Alicia, or whether he is gay at all, I don't want to say more here. Judging from his concern for Marco, he may indeed have feelings for Marco. But the most important thing is that I agree with the sentence at the beginning of the article, "In Almodovar's movies, men always appear weak and weak." In reality, this is also the truth.
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