The protagonist of the film, Benigno, has a crush on dancer Alicia. Remember that he is a boy. We can only call him a boy, which has nothing to do with age and is not ironic. He seems to have an idealist stubbornness towards life. When he saw that the girl he had a crush on had turned into a vegetative state because of a car accident, he took care of Alisha for four years, helping her scrub her body, take medicine, etc., even non-stop speak to her, even if she cannot answer. This is not some unprovoked coincidence in some Hollywood movie or Korean drama, in fact, Benigno is a hospital paramedic, he has looked after his mother for 20 years, he is the best, so he was recommended to take care of Alisha. But the long-term relationship with Alisha and her love for Alisha made Benino finally have a relationship with Alisha who was in a coma, resulting in Alisha's pregnancy, and Benino was charged with rape and taken to prison. In the end, Alisha woke up because of childbirth, but Benigno didn't know it. He was told that Alisha was still in a coma, so he took a lot of pills. He thought that he could meet Alisha in the coma, but he died.
In the film, Almodóvar uses a clever way to show Benino having sex with a comatose Alicia, and it is clear that most people, especially women, are not interested in men who have sex with comatose women. There will be good impressions, just like the heroine in Haruki Murakami's "Let's Hear the Wind Sing" repeatedly said to the "I" in the book, "A person who sleeps with an unconscious girl is worthless", obviously the trend of the film So that Almodovar should not let Benino be hated by the audience. So Almodovar fell into a more embarrassing situation. Of course, he could learn the technique used by most directors in mainland China, an ambiguous behavior, and then the picture faded out, so that everyone would understand what happened. But the reason why Almodovar is for Almodovar is not for Almodovar. Here, Almodovar inserts a paragraph in this silent film through Benigno telling Alisha about the silent film "Shrinking Lover" that he watched last night The seven-minute segment used the behavior of the hero and heroine in this silent film to show that Benigno and Alisha had a relationship. As Almodóvar said, "It seems unrelated, but it actually works, because in the seven minutes of the film, Benino's life is not static, what he encounters. The changes are even closely related to the plot in "The Shrinking Lover", both of which have ups and downs. In short, when I wrote this script, I always had the idea that I would use this silent film as an introduction to reveal the story behind. ."
Of course, this is not the first time Almodóvar has borrowed from other films. "High Heels" borrowed the film "Autumn Sonata" to express her heart to her mother; in "The Bullfighter", the scene where the heroine leaves her boyfriend is mixed In the film "Duel"; in "Fragrance of Life", when two men are dueling, "Rehearsal For A Crime" is being shown on the TV next to it; "Desert Monster" appears in "The Woman Who Is Nearly Crashing" "Guest"; in "Kika" there is a scene from "The Robber" directed by Joseph Losey; and "All About My Mother" mother and son are watching the movie "Comet Beauty" at the beginning ("All About My Mother" is called "ALL ABOUT MY MOTHER" in English, and "Comet Beauty" is called "ALL ABOUT EVE" in English). Almodóvar also said, "There are other types of films in my films, not because I'm a film lover, not because I'm the kind of person who is good at citing other creators, I think my films are extremely Independent. In fact, it can also be said that I am a thief. I borrow fragments of certain films to activate my work. When fragments of other people's films appear in my films, this is not a respect for them, but a kind of Plagiarism. I stole it and made it into the stories I wrote, so there was an active way. And reverence is a negative expression after all. Some films are used by me to explain the characters. I see myself The films I have seen become my experience, and therefore, the experience of the characters in my works." The borrowing of "Shrunk Lover" in "Talk to Her" can be said to best embody Almodóvar's thought. This seven-minute clip is not just the story Benigno told Alicia, it should be said that it also becomes something of the film itself.
The most important plot arrangement in the film should be Benigno's death. It can be said that Benigno must die, although it is a bit inhuman to say that. We can see from the film that Benino's love for Alisha is completely one-sided, and Alisha's impression of him should only be when he picked Alisha's wallet and met in Alisha's apartment. Alicia will not know that Benigno has been staring at her for a long time in front of the window, nor will she know that Benigno has been guarding her for four years, and she will not remember the thoughts that Benigno talked with her. In Alicia's eyes, Benino should be no different from other nurses. If there is a difference, it is that he is a man. In other words, Alicia doesn't love Benigno, has no motive for love, and no time to love, and she may not even remember this person. In such a situation, if Benino doesn't die, what will Alisha do when she wakes up? Tell her, this man took care of you for four years and raped you again, so let's love each other. It's obviously comical, which is to say, it doesn't put Alisha on an equal footing, and if it had to, it would seem a bit like the American spirit that likes to impose. But if Alisha wakes up and they don't love each other, Alisha continues to live her life, and Benino is going to jail, which puts Alisha in a less affectionate position, at least an embarrassing position, which It won't be the way the director wants to show Alisha. After all, she is an innocent.
As for the origin of the medicine Benigno used for suicide, the film explained that Benigno was arranged to work in the prison pharmacy because he was a nurse through the previous conversation between Benigno and Marco, so it was not abrupt. And Benino's death also made "Tell Her" the most tragic film of Almodóvar. Even in the cold reality "Why should I be like this", Gloria was finally reunited with her youngest son, and "Bull Fighting" The death of the protagonist in "Law of Desire" and "Law of Desire" has the taste of sin as it should be.
In the film, Almodovar did not forget to satirize the church he always hated through the talk of Lydia's family in the newspaper. In the film "Bad Education" after "Talk to Her", Almodovar simply Take the church sex scandal. It is said that this Spaniard, who looks like a baguette, was sexually assaulted by a priest when he was in a church middle school, and because of this, he no longer has any faith, so he has no scruples. To be honest, I like Almodovar, the priest's taste is a bit strange.
The stage play at the beginning of the film, which seems to be called "Café Muhe", is described as a woman hurt by love, and Mark, who was hurt by love in the audience, wept; Benigno's farewell is also Mark's farewell to the old sadness. When Mark looked back at Alisha at the end of the film, the subtitles appeared again in the middle of the screen: Mark and Alisha, which happened to reflect the first two subtitles in the film: Lydia and Mark, Alisha and Benigno. One can't help but wonder if the director wants to bring these two together. In fact, if I were the director, I would rather delete this subtitle.
With the evaluation of "Tell Her" from various media:
"This film is like a winding coast road, every turn is unexpected. However, hidden in the center of the dazzling storyline is love—— Perverted love, frustrated love, and fulfilled love...Although the ideas contained in "Tell Her" are overlapping and extremely complex, Almodovar expresses them one by one with the master's handwriting." - "Eonline" "Tell
Her" is a chorus: it is loud, whimsical, sad, and absurd. These features sometimes appear separately, bombarding the audience one by one, and sometimes they simply swarm, with gongs and drums at the same time. Debut. Almodóvar, once a staunch proponent of gaudy pop culture, appears much more mature in this film. While unexpected plot twists make the film entertaining, Almodóvar takes a deeper dive into the emotional realm. Digging elevates the film." "J onvna"
"Like all love stories destined to end in tragedy, "Tell Her" is full of sweet distress and beautiful sadness. When the ending song plays, you will gradually realize Find out what this film means to you. The feeling will slowly settle, and the pent-up heart will be hard to get rid of." The New York Times "
Every detail is perfect. Almodóvar brings many humorous moments. (Sometimes the difference is absurd) is seamlessly interwoven into the storyline. The plot of "Tell Her" is powerful, but some viewers may leave the theater convinced that they have seen a comedy. Amo Dowa cleverly left a light tail at the end of the credits, making many viewers hopeful that he will tell us the fate of the characters in the future." "Reel Views"
"Fantastic, go see it!" Almodovar managed to make himself both profound and mature, passionate and absurd at the same time. The acting, the soundtrack, the plot, the rhythm... everything is perfect. "Rolling Stone"
"Tell Her" will be the talk of the town, especially with its vague moral stance. The film is slow-paced, and every moment is gripping, from the opening dance performance to the tragic ending. "USA TODAY"
"Tell Her" reveals the many ways to express love and weave together all kinds of intimacy—romantic, erotic, professional, mentoring. Almodovar was once recognized as an expert on women. In the films he directed in the past, the role of the female role was often much heavier than the male role, but through the film "Tell Her", Almodovar showed his The complex world of masculinity is equally well grasped. "Entertainment Weekly"
"Talk to Her" is not as real and moving as Almodóvar's outstanding "All About My Mother," compared to this latest work, which highlights the director's personal consciousness and appears Not natural enough. Nonetheless, this is an impossible-to-miss movie for every movie enthusiast. "New York Post" Friday, September 29, 2006 Eight Yin Wuhan ,
Bingxu Year
in August Pedro Almodovar Starring: Javier Camara, Javier Camara , Dario Grandinetti, Geraldine Chaplin, Geraldine Chaplin , Rosario Flores Camera: Garvey El Aguirresarobe Javier Aguirresarobe
Awards: "European Film Awards" five awards including best film, best director, best screenwriter, best actor, and "My Favorite Director" of the year.
Year: 2002.
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