By the time I could appreciate Almodovar, I was covered in the "maverick" label all over my body. The ideal of being a good girl back then has been defeated by the reality of being a free and unrestrained bad girl. So far, Almodovar's expression seems so heartfelt.
His deconstruction of the sublime, the radical whipping of the rotten social morality, the questioning of religion, the reflection on the times, and the concern for marginalized figures, through the channels of sensuality, are in unison with me.
Almodóvar grew up in Franco's dictatorial Spain, an era that, according to Bardem, was "politically mediocre, socially misguided, ideologically lackluster, aesthetically worthless, industrially useless. 60 years of Spanish films of "weakness and frailty", Almodóvar, as the representative of Madrid's Nouveau, aims to break with the times, push anti-traditional ideas, liberate himself in spirit, culture and existence, reflect on the times, and endow his works with more the connotation.
If Almodovar had to be given an adjective, it would be absurd.
The protagonists of his films have never been normal. They are homosexuals, transvestites, incestuous, drug addicts, pedophiles, masochists, etc. These characters outside the mainstream become the hosts of his thoughts. Under the film language of ridicule and banter, it tells about the unremarkable but thought-provoking farces, pointing to the real and deep sense of morbid life.
In "Bad Education", a boy who grew up in a church school was raped by a priest in order to protect homosexuals.
In "All About My Mother", the mother embarks on a journey to find the father of the child because of the death of the child, but later finds that the father has become a woman, and is the lowest kind of prostitute, and infected with AIDS , and a nun was pregnant with the prostitute's child, and the mother took care of the nun's birth and gave the child the same name as the deceased son.
In "Tie Me, Tie Me", a porn actress was kidnapped, but after several tossing, the actress not only did not hate the kidnapper, but fell in love with him. Stockholm Syndrome is so vividly played out in front of us.
In "The Skin I Live", plastic surgeon Robert Redgar lives in a villa in the countryside. He puts Vincent under house arrest, and then, to take revenge on this enemy, he cuts off Vincent's genitals and installs a vagina for him. And breasts, successfully changed sex, and later changed his facial features, limbs, and fur step by step, until Vincent became exactly the same as Robert Redgar's ex-wife. In the end, the doctor fell in love with the enemy whom he forcibly transformed.
In "Return", Raymonde is sexually assaulted by her father, and her mother does not know it and blames her daughter from time to time.
These stories are erotic, absurd, ridiculous, a thousand miles away from the mundane reality of you and me, and yet, they are so full. The subject is entangled and wrapped by desire, love, perception, reason and pure emotion, like a spider looking for a way out, and finally lost in the dual world of inner and outer.
In Almodóvar's films, the characters, no matter where, when, or what they are, are extremely close to one theme: death.
The movie has become the flowers and the wind on the tombstone, the story is born to death, and from the opposite direction, it has opened up another unrestricted space and meaning. Almodovar is sexy. Although he is gay, he has a different kind of compassion and worship for beauty and women, so in his camera, women are living comforts, the original origin, and the final 's home. René Charles has a poem called "Red Hunger", in which there is a line "When you die, a finger is in your mouth", which explains this kind of arbitrariness: only love and death make people extremely sexy.
In "Fragrant Living", Clara and her husband Sancho both committed suicide. Both of them chose this path out of love, but the objects of their love were different.
"What are we going to do? Shoot each other?" said Sancho.
"Do you have any other way?" Clara asked rhetorically. Saying that, she loaded the pistol: two shots were fired. When Victor broke in, he saw Clara's body lying on the ground, dead, and not far away, Sancho was covered in blood and crawled to Clara with difficulty, as if speaking to Vic Listening more, it seems to be talking to himself:
"This, this is my life: crawling humbly, in order to keep getting close to you."
This sentence made all the audience's heart beat, it is a short period, It is also the beginning of eternity. Malraux famously said: It is death that turns life into destiny.
Clara and Sancho exemplify human debility at their best, revealing in a thrilling way a reality that has been trying to show before: Humans are in a state of unease, which ultimately leads them to Inability to communicate with others.
Almodovar established a new mode of communication. On the surface of existence, he used images to re-converse with the lonely crowd, with the soul in the gap, with the self, with the existence itself, and with other nothingness. In this sense, he became Spider-Man climbing the Tower of Babel.
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