list http://www.spout.com/ Recent community activity around Volver on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Volver/262194/default.aspx Title: Volver
Year: 2006
Director: Pedro Almodóvar
Plot: Two sisters learn that the bonds of family don't always end after death in this gentle, observational comedy drama that marks celebrated Spanish filmmaker Pedro Almodóvar's 16th feature. The story explores the interactions between three generations of women in a Spanish family. Raimunda (Penélope Cruz) was born and raised in the apocryphal village of Alcanfor de las Infantas, in La Mancha, Spain. But she now resides in Madrid, where she works as a janitor. She is married to Paco (Antonio de la Torre), an unemployed layabout, and looks after her daughter, Paula (Yohana Cobo). Raimunda's mother, Irene (Carmen Maura), died several years back (along with her father) in a house fire. Raimunda's younger sister, Sole (Lola Dueñas), also lives in Madrid and works as a hair stylist, while their aunt Paula (Chus Lampreave) still makes her home in La Mancha, with occasional help from neighbor Agustina (Blanca Portillo). The story takes an unusual and mystical twist when Agustina mentions that Irene has begun reappearing in ghostly form -- a fact questioned by Raimunda and Sole. After a murder and an unexpected family tragedy, Paula's story is indeed corroborated by the appearance of Irene's spirit (who has come to comfort her family), and Sole must decide how to respond to the long-dead mother's strange, enchanting presence. ~ Mark Deming, All Movie Guide
Times Tagged: 77
Number of Lists: 46
Number of blog posts: 13
Number of discussion threads: 4
SpoutRating: 3
]]>Wed, 26 Aug 2009 04:08:10 GMTVolver2006Pedro AlmodóvarTwo sisters learn that the bonds of family don't always end after death in this gentle, observational comedy drama that marks celebrated Spanish filmmaker <a href="/players/P____79410/default.aspx" style='text-decoration:underline'>Pedro Almodóvar</a>'s 16th feature. The story explores the interactions between three generations of women in a Spanish family. Raimunda (<a href="/players/P___186999/default.aspx" style='text-decoration:underline'>Penélope Cruz</a>) was born and raised in the apocryphal village of Alcanfor de las Infantas, in La Mancha, Spain. But she now resides in Madrid, where she works as a janitor. She is married to Paco (Antonio de la Torre), an unemployed layabout, and looks after her daughter, Paula (Yohana Cobo). Raimunda's mother, Irene (<a href="/players/P____46566/default.aspx" style='text-decoration:underline'>Carmen Maura</a>), died several years back (along with her father) in a house fire. Raimunda's younger sister, Sole (Lola Dueñas), also lives in Madrid and works as a hair stylist, while their aunt Paula (Chus Lampreave) still makes her home in La Mancha, with occasional help from neighbor Agustina (Blanca Portillo). The story takes an unusual and mystical twist when Agustina mentions that Irene has begun reappearing in ghostly form -- a fact questioned by Raimunda and Sole. After a murder and an unexpected family tragedy, Paula's story is indeed corroborated by the appearance of Irene's spirit (who has come to comfort her family), and Sole must decide how to respond to the long-dead mother's strange, enchanting presence. ~ Mark Deming, All Movie Guide77Tag Target (>10)461343http://www.spout.com/ProductImages/u32682e7nel.jpghttp://www.spout.com/films/Volver/262194/default.aspxFilm http://www.spout.com/blogs/pippin06/archive/2009/7/18/43179.aspx Post By: pippin06
Post To: Reel Thoughts
Post Date: 7/18/2009 11:40:39 AM
Body: What's an Oscar Flashback (tm)? Read here: Next on my Netflix queue was Volver, for which Penelope Cruz was nominated for the Best Actress Oscar (film year, 2006; awarding year, 2007). The other nominees for Best Actress in this category were: The Queen - Helen Mirren (Winner) Notes on a Scandal - Judi Dench The Devil Wears Prada - Meryl Streep Little Children - Kate Winslet The two films currently topping my Netflix queue turn out to be Oscar-nominated Spanish-language foreign language films. Volver ("Returning") was the first. Volver represents my first foray into the films of Pedro Almodovar. I understand he is quite the esteemed director, so I was excited to give this film a look. Plus, the premise sounded like something potentially up my alley, and, of course, I had heard of the film thanks to its Oscar exposure (which is, by the way, part of the purpose of highlighting the film as an "Oscar Flashback"). While Volver was not a perfect film, it was certainly a sweet picture with much heart and an engaging performance by Ms. Cruz, and I'm definitely interested in exploring some of Almodovar's other films. In Volver, the story centers around three generations of women in a family struggling to maintain familial bonds following the death of the matriarch, Irene. Raimunda (Cruz) and her daughter Paula live in Madrid with her layabout husband Paco, while Raimunda works as a janitor. After Paco is fired, he takes his frustration out on Paula in a shocking way, and Paula is forced to take extreme measures to retaliate. While Raimunda works to protect her daughter from the possible legal and emotional consequences of the situation, she relies on her sister Soledad, who also lives in Madrid and works as a hairstylist. Both women are responsible for caring for their aging and ailing Aunt Paula, who lives in their mother's former home in their birthplace of La Mancha and is also cared for her by her neighbor, Agustina. Before their aunt passes away, Raimunda and Soledad learn from her that she has been seeing visions of their mother Irene in ghostly form, who has also been caring for her and living with her. Writing this tale off as an unfortunate result of her illness. they are surprised to learn, after their aunt passes away, that other residents of their former village have also seen Irene; subsequently, she begins to appear to members of their family, beginning with Sole. Sole is forced to decide how to respond to her mother's curious presence and to decide whether or not to share this information with Raimunda, as Raimunda struggles to cope with her daughter's painful experience, her own shocking history, and surviving in the present. As I've mentioned, Volver is a sweet picture, zeroed in on observations of the human condition in unusual circumstances. The relationships between the women that are being explored are written, directed, and performed with such infectious warmth, it's hard not to immediately enjoy the picture on a purely aesthetic basis. Ms. Cruz does, indeed, give a winning performance, even if she did not win the award (though I haven't seen The Queen yet); when she was on screen, it was hard not make or accept her as the immediate focal point. Raimunda's story is all at once so poignant, so tragic, and yet such a tale of survival, and Ms. Cruz tackled the wide-ranging emotions of this character with gusto. She was a joy to watch. I was not as familiar with the rest of the cast, as I haven't seen too many films that are exports from Spain, but I felt this was a very good ensemble of women telling a beautiful tale about having strength as women trying to live their lives and to move forward. I particularly liked the actress who played Sole; she proved to be a charming and understated counterpoint to the more passionate portrayal offered by Cruz. The cinematography in this film was masterful and proved to be something of another character all on its own. Apparently, Almodovar is quite the master at exploring the limits of the camera in intimate settings; the claim was certainly true here. From different color palates to skillful angles and choice close-ups, this director was able to elevate the intimacy levels with his obviously practiced knowledge of the camera in a charming and heartstring-tugging way. While I was certainly entertained by Volver and its unique story, however, I did not love the film for two reasons. First, the story was very scattered, mostly in the sense that the film was attempting to focus on three primary women (Raimunda, Sole, and Paula) and their reaction to the presence of Irene, but there were side stories that also figured into the grand scheme. It all comes together in the end, and none of the storylines lacked for interest or went unresolved, but on initial viewing, I was left wondering why the viewer might need to know so much about, for example, Agustina's particular story or why Raimunda cared so much about cooking for a film crew working locally and looking for a place to relax and eat, stories which felt a little distracting and were not necessarily comic relief. Second, the ending seemed very abrupt to me. Again, no part of the story was left unresolved, but after taking such a slow and deliberate approach toward unfolding some big secrets at the end of the movie, the payoff of the storytelling, in fact, it was surprising that the film ended the way it did, without more of a denouement that might leave the viewer settled. All in all, though, these are minor points, but they did knock the potential rating down a peg for me. Speaking of ratings, I think Volver deserves an 8 on the patented ratings scale for having minor flaws but being very good. In the land of the test, it does not pass, for the simple reason that I just don't see myself watching Volver again, even though I liked it very much. I think the film is highly recommendable as an introduction to Almodovar or if one enjoys Spanish films, though, and I wouldn't object to watching it again if offered; I just do not think I would if I bought it. In any event, I am glad the Oscars exposed me to such a film; I am looking forward to seeing other, allegedly better, examples of Almodovar's filmography in the future.
]]>Sat, 18 Jul 2009 15:40:39 GMTpippin06Reel Thoughts7/18/2009 11:40:39 AM What's an Oscar Flashback (tm)? Read here: Next on my Netflix queue was Volver, for which Penelope Cruz was nominated for the Best Actress Oscar (film year, 2006; awarding year, 2007). The other nominees for Best Actress in this category were: The Queen - Helen Mirren (Winner) Notes on a Scandal - Judi Dench The Devil Wears Prada - Meryl Streep Little Children - Kate Winslet The two films currently topping my Netflix queue turn out to be Oscar-nominated Spanish-language foreign language films. Volver ("Returning") was the first. Volver represents my first foray into the films of Pedro Almodovar. I understand he is quite the esteemed director, so I was excited to give this film a look. Plus, the premise sounded like something potentially up my alley, and, of course, I had heard of the film thanks to its Oscar exposure (which is, by the way, part of the purpose of highlighting the film as an "Oscar Flashback"). While Volver was not a perfect film, it was certainly a sweet picture with much heart and an engaging performance by Ms. Cruz, and I'm definitely interested in exploring some of Almodovar's other films. In Volver, the story centers around three generations of women in a family struggling to maintain familial bonds following the death of the matriarch, Irene. Raimunda (Cruz) and her daughter Paula live in Madrid with her layabout husband Paco, while Raimunda works as a janitor. After Paco is fired, he takes his frustration out on Paula in a shocking way, and Paula is forced to take extreme measures to retaliate. While Raimunda works to protect her daughter from the possible legal and emotional consequences of the situation, she relies on her sister Soledad, who also lives in Madrid and works as a hairstylist. Both women are responsible for caring for their aging and ailing Aunt Paula, who lives in their mother's former home in their birthplace of La Mancha and is also cared for her by her neighbor, Agustina. Before their aunt passes away, Raimunda and Soledad learn from her that she has been seeing visions of their mother Irene in ghostly form, who has also been caring for her and living with her. Writing this tale off as an unfortunate result of her illness. they are surprised to learn, after their aunt passes away, that other residents of their former village have also seen Irene; subsequently, she begins to appear to members of their family, beginning with Sole. Sole is forced to decide how to respond to her mother's curious presence and to decide whether or not to share this information with Raimunda, as Raimunda struggles to cope with her daughter's painful experience, her own shocking history, and surviving in the present. As I've mentioned, Volver is a sweet picture, zeroed in on observations of the human condition in unusual circumstances. The relationships between the women that are being explored are written, directed, and performed with such infectious warmth, it's hard not to immediately enjoy the picture on a purely aesthetic basis. Ms. Cruz does, indeed, give a winning performance, even if she did not win the award (though I haven't seen The Queen yet); when she was on screen, it was hard not make or accept her as the immediate focal point. Raimunda's story is all at once so poignant, so tragic, and yet such a tale of survival, and Ms. Cruz tackled the wide-ranging emotions of this character with gusto. She was a joy to watch. I was not as familiar with the rest of the cast, as I haven't seen too many films that are exports from Spain, but I felt this was a very good ensemble of women telling a beautiful tale about having strength as women trying to live their lives and to move forward. I particularly liked the actress who played Sole; she proved to be a charming and understated counterpoint to the more passionate portrayal offered by Cruz. The cinematography in this film was masterful and proved to be something of another character all on its own. Apparently, Almodovar is quite the master at exploring the limits of the camera in intimate settings; the claim was certainly true here. From different color palates to skillful angles and choice close-ups, this director was able to elevate the intimacy levels with his obviously practiced knowledge of the camera in a charming and heartstring-tugging way. While I was certainly entertained by Volver and its unique story, however, I did not love the film for two reasons. First, the story was very scattered, mostly in the sense that the film was attempting to focus on three primary women (Raimunda, Sole, and Paula) and their reaction to the presence of Irene, but there were side stories that also figured into the grand scheme. It all comes together in the end, and none of the storylines lacked for interest or went unresolved, but on initial viewing, I was left wondering why the viewer might need to know so much about, for example, Agustina's particular story or why Raimunda cared so much about cooking for a film crew working locally and looking for a place to relax and eat, stories which felt a little distracting and were not necessarily comic relief. Second, the ending seemed very abrupt to me. Again, no part of the story was left unresolved, but after taking such a slow and deliberate approach toward unfolding some big secrets at the end of the movie, the payoff of the storytelling, in fact, it was surprising that the film ended the way it did, without more of a denouement that might leave the viewer settled. All in all, though, these are minor points, but they did knock the potential rating down a peg for me. Speaking of ratings, I think Volver deserves an 8 on the patented ratings scale for having minor flaws but being very good. In the land of the test, it does not pass, for the simple reason that I just don't see myself watching Volver again, even though I liked it very much. I think the film is highly recommendable as an introduction to Almodovar or if one enjoys Spanish films, though, and I wouldn't object to watching it again if offered; I just do not think I would if I bought it. In any event, I am glad the Oscars exposed me to such a film; I am looking forward to seeing other, allegedly better, examples of Almodovar's filmography in the future. http://www.spout.com/blogs/spoutblog/archive/2008/12/17/38484.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 12/17/2008 12:01:25 PM
Body: Time to feature two more members of the Spout community, each of which will be receiving a copy of the two-disc edition of Yule-A-Go-Go, the perfect thing to give you that warm, fuzzy feeling this Christmas season. (Note: I’ll be doing this twice today since I spectacularly failed to do it yesterday.) –Chris Thilk, Director of Marketing Username: leeroy711 Real name: Emery From: Phoenix , AZ Last 5 movies I’ve loved: Missing (1982), Touch of Evil (1958), Sukiyaki Western Django (2007), Volver (2006) and The Princess and the Warrior (2000). My favorite group on Spout is: The Weekly Theme. The strangest place I’ve ever watched a movie has to be at the Glendale Drive-in. A friend and I used to know where the hole in the fence was. We would sneak in and find a family that was watching something we wanted to see and sit on the parking block next to thier car so we could just pretend that we were with them. Also, I watch about one movie a week on my laptop in a hotel room in Nogales, AZ (border town) which is just a strange place to find yourself in. —————- Username: Pippin06 Real Name: Kylie From: Grand Rapids, MI Last 5 movies I’ve loved: The last ones I’ve loved (as in, I gave them 5 stars here on Spout) were: Double Indemnity, Hotel Rwanda, The Painted Veil, All About Eve, and Wall-E (these don’t count the ones I “revisited” for the AFI Project thing in my blog; they’re ones I saw for the first time and fell in love with them). Favorite group on Spout is: My favorite group on Spout? I can’t narrow it to one, so I’ll say three: two of the ones I own, which would be the Oscars group (It’s a Wonderful Night for Oscar) and the Imagination of Fantasy group, because I started them and love talking about awards shows and fantasy, but otherwise I enjoy the discussions in Top 5 a lot because I like making lists of things. I don’t know about unusual, but definitely one of the best experiences I had watching a movie was when I went to a drive-in somewhere outside of Loveland, CO near the foothills of the Rockies. I think I saw Anger Management and Bringing Down the House. It was like camping under the stars but with movies! And there are no mountains in Grand Rapids. I’m just sayin’. Originally posted on:SpoutBlog
]]>Wed, 17 Dec 2008 17:01:25 GMTSpoutBlogSpoutBlog on spout.com12/17/2008 12:01:25 PMTime to feature two more members of the Spout community, each of which will be receiving a copy of the two-disc edition of Yule-A-Go-Go, the perfect thing to give you that warm, fuzzy feeling this Christmas season. (Note: I’ll be doing this twice today since I spectacularly failed to do it yesterday.) –Chris Thilk, Director of Marketing Username: leeroy711 Real name: Emery From: Phoenix , AZ Last 5 movies I’ve loved: Missing (1982), Touch of Evil (1958), Sukiyaki Western Django (2007), Volver (2006) and The Princess and the Warrior (2000). My favorite group on Spout is: The Weekly Theme. The strangest place I’ve ever watched a movie has to be at the Glendale Drive-in. A friend and I used to know where the hole in the fence was. We would sneak in and find a family that was watching something we wanted to see and sit on the parking block next to thier car so we could just pretend that we were with them. Also, I watch about one movie a week on my laptop in a hotel room in Nogales, AZ (border town) which is just a strange place to find yourself in. —————- Username: Pippin06 Real Name: Kylie From: Grand Rapids, MI Last 5 movies I’ve loved: The last ones I’ve loved (as in, I gave them 5 stars here on Spout) were: Double Indemnity, Hotel Rwanda, The Painted Veil, All About Eve, and Wall-E (these don’t count the ones I “revisited” for the AFI Project thing in my blog; they’re ones I saw for the first time and fell in love with them). Favorite group on Spout is: My favorite group on Spout? I can’t narrow it to one, so I’ll say three: two of the ones I own, which would be the Oscars group (It’s a Wonderful Night for Oscar) and the Imagination of Fantasy group, because I started them and love talking about awards shows and fantasy, but otherwise I enjoy the discussions in Top 5 a lot because I like making lists of things. I don’t know about unusual, but definitely one of the best experiences I had watching a movie was when I went to a drive-in somewhere outside of Loveland, CO near the foothills of the Rockies. I think I saw Anger Management and Bringing Down the House. It was like camping under the stars but with movies! And there are no mountains in Grand Rapids. I’m just sayin’. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/12/15/38410.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 12/15/2008 5:00:38 PM
Body: As promised earlier today, here are the first two member profiles as we highlight some of those who have made Spout the great place it is over the course of 2008 (and even before that). As promised, each one of these members will receive a copy of Yule-A-Go-Go on DVD for them to snuggle up to in ways we don’t need to hear about. –Chris Thilk, Director of Marketing Username:  Risselada Real name: Brian Risselada but some people here call me Rizzo From: Jenison, MI. But have been in Chicago, IL for over 4 years now Fav Group on Spout: Movie Polls Last five movies I saw for the first time that have become my favorites: The King of Kong: A Fistful of Quarters Burn After Reading 21 Up Born To Kill Lone Wolf and Cub: Baby Cart at the River Styx Most Unusual Place You’ve Ever Watched a Movie: I’m not sure the most unusual place I’ve watched a movie, but one of the most unusual experiences I had watching a movie was when a couple of my friends and I went to see Happy, Texas when it first came out.  I personally wanted to see Bringing Out the Dead, but that movie was chosen and our fates were sealed.  Without going into too much detail I will say that when we first walked into the theater we were the only ones there.  And by the middle of the movie one of my friends was writhing around on the ground in just his underwear, covered in Mountain Dew, while angry old biker in leather was cussing him out. I’m excessively honored to be chosen as a featured profile!  I LOVE SPOUT!!! ———- Username: leeroy711 Real name: Emery From: Phoenix , AZ Last 5 movies I’ve loved: Missing (1982),  Touch of Evil (1958), Sukiyaki Western Django (2007), Volver (2006) and  The Princess and the Warrior (2000). My favorite group on spout is The Weekly Theme. Most Unusual Place You’ve Ever Watched a Movie: The strangest place I’ve ever watched a movie has to be at the Glendale Drive-in. A friend and I used to know where the hole in the fence was. We would sneak in and find a family that was watching something we wanted to see and sit on the parking block next to thier car so we could just pretend that we were with them. Also, I watch about one movie a week on my laptop in a hotel room in Nogales, AZ (border town) which is just a strange place to find yourself in. Merry Christmas! Originally posted on:SpoutBlog
]]>Mon, 15 Dec 2008 22:00:38 GMTSpoutBlogSpoutBlog on spout.com12/15/2008 5:00:38 PMAs promised earlier today, here are the first two member profiles as we highlight some of those who have made Spout the great place it is over the course of 2008 (and even before that). As promised, each one of these members will receive a copy of Yule-A-Go-Go on DVD for them to snuggle up to in ways we don’t need to hear about. –Chris Thilk, Director of Marketing Username:  Risselada Real name: Brian Risselada but some people here call me Rizzo From: Jenison, MI. But have been in Chicago, IL for over 4 years now Fav Group on Spout: Movie Polls Last five movies I saw for the first time that have become my favorites: The King of Kong: A Fistful of Quarters Burn After Reading 21 Up Born To Kill Lone Wolf and Cub: Baby Cart at the River Styx Most Unusual Place You’ve Ever Watched a Movie: I’m not sure the most unusual place I’ve watched a movie, but one of the most unusual experiences I had watching a movie was when a couple of my friends and I went to see Happy, Texas when it first came out.  I personally wanted to see Bringing Out the Dead, but that movie was chosen and our fates were sealed.  Without going into too much detail I will say that when we first walked into the theater we were the only ones there.  And by the middle of the movie one of my friends was writhing around on the ground in just his underwear, covered in Mountain Dew, while angry old biker in leather was cussing him out. I’m excessively honored to be chosen as a featured profile!  I LOVE SPOUT!!! ———- Username: leeroy711 Real name: Emery From: Phoenix , AZ Last 5 movies I’ve loved: Missing (1982),  Touch of Evil (1958), Sukiyaki Western Django (2007), Volver (2006) and  The Princess and the Warrior (2000). My favorite group on spout is The Weekly Theme. Most Unusual Place You’ve Ever Watched a Movie: The strangest place I’ve ever watched a movie has to be at the Glendale Drive-in. A friend and I used to know where the hole in the fence was. We would sneak in and find a family that was watching something we wanted to see and sit on the parking block next to thier car so we could just pretend that we were with them. Also, I watch about one movie a week on my laptop in a hotel room in Nogales, AZ (border town) which is just a strange place to find yourself in. Merry Christmas! Originally posted on:SpoutBlog http://www.spout.com/groups/Top_5/Re_Depressing_holidays_dysfunctional_families_fo/190/37174/1/ShowPost.aspx Post By: leeroy711
Post To: Top 5
Post Date: 11/10/2008 10:25:59 PM
Body: [quote user="SkyPilot"] 10 Most Accessible Foreign Language Films of the Last 10 Years** **I had to laugh when Risselada called Amelie the "gateway drug" of foreign films in this Top 5 Overrated Movies discussion. (Hey Rizzo, I can't find that quote now, did you delete it?) [/quote] That was me. I was adding to what Rizzo had allready said something to the effect that Amelie seems to be the movie that people who maybe wouldn't otherwise see foreign movies will cling to as "their favorite foreign film" So........... with that, here's my list: 1. Pan's Labyrinth (2006) 2. Crouching Tiger, Hidden Dragon (2000) 3. Run Lola Run (1998) 4. Amélie (2001) 5. Downfall (2004) 6. The Diving Bell and the Butterfly (2007) 7. The Lives of Others (2006) 8. Night Watch (2004) 9. City of God (2002) 10. Volver (2006)
]]>Tue, 11 Nov 2008 03:25:59 GMTleeroy711Top 511/10/2008 10:25:59 PM[quote user="SkyPilot"] 10 Most Accessible Foreign Language Films of the Last 10 Years** **I had to laugh when Risselada called Amelie the "gateway drug" of foreign films in this Top 5 Overrated Movies discussion. (Hey Rizzo, I can't find that quote now, did you delete it?) [/quote] That was me. I was adding to what Rizzo had allready said something to the effect that Amelie seems to be the movie that people who maybe wouldn't otherwise see foreign movies will cling to as "their favorite foreign film" So........... with that, here's my list: 1. Pan's Labyrinth (2006) 2. Crouching Tiger, Hidden Dragon (2000) 3. Run Lola Run (1998) 4. Am&eacute;lie (2001) 5. Downfall (2004) 6. The Diving Bell and the Butterfly (2007) 7. The Lives of Others (2006) 8. Night Watch (2004) 9. City of God (2002) 10. Volver (2006) http://www.spout.com/blogs/mike_moody/archive/2008/6/25/31715.aspx Post By: mike_moody
Post To: Moody's Movie Blog
Post Date: 6/25/2008 11:38:21 PM
Body: Volver, a charming minor work by Pedro Almódovar, is probably my least favorite film by the great Spanish director.Since the 1980s, Almódovar has delivered a successful string of florid and risky melodramas about Spanish women and their families. For his last two films, Almódvar focused his lens on men, with glorious results. He won an Academy Award for Best Screenplay for 2002’sHabla Con Ella (Talk to Her), a tender drama about two very flawed men in love with comatose women. 2004 saw the release of La Mala Educación (Bad Education), the director’s acclaimed and gripping Hitchcockian suspense tale about two male lovers connected by sexual abuse. Volver, which means “to return” in Spanish, is an apt title for Almódovar’s latest, his comeback to the land of the lady. It marks another film about strong women, another great role tailored for Penélope Cruz (the two worked together on 1999’s Todo Sobre Mi Madre), but a small regression for the director.With Volver, Almódovar tells a female-centric story that touches on all of his hallmark issues — death, abuse, deceit, family and friendship — but he lets the melodrama simmer instead of boil.Most directors categorized by their penchant for the melodramatic offer laughable or cold results, but Almódovar has always turned high drama into high art. Check his earlier work, especially Madre, and you’ll find visually explosive and powerful films that can essentially be read as artful soap operas. Volver is a story made to be told with such roaring operatics and only traces of the intimate tone present inHabla Con Ella. Almódovar opts for the opposite this time, dampening what could have been a more lively, hot-blooded tale of lives rekindling with a tone too muted. It’s almost like he was timid about displaying his knack for flamboyance.Cruz plays Raimunda, an overworked mother married to a vulgar drunk in Madrid. We meet Raimunda on one of her many trips to her hometown village, scrubbing away at her parents’ tombstone with the help of her teenage daughter Paula (Yohana Cobo) and her sister Sole (Lolela Dueñas). After refurbishing the gravesite, the women visit their geriatric and comically loopy aunt (Chus Lampreave), who’s on the verge of death herself. The first twenty minutes of the film play out slowly, establishing the central characters’ tight bonds and complicated relationships. Things pick up after Paula kills her father with a kitchen knife defending herself from his sexual advances, spurring Raimunda to hide the body and, in essence, take charge of her own life. Then, Sole returns to the village for her aunt’s funeral and comes back accompanied by her mother’s ghost.Almódovar plays all of this surprisingly straight. He documents the strangeness and struggles Raimunda must endure after her husband’s death — which includes stuffing his body in a large freezer and burying it by a lake — with much less of the dark wit and high style he’s famous for. What follows are a number of diverting and funny, but only mildly compelling, scenes of Raimunda and her clan making sweet music, sometimes literally, out of their hard lives and painful pasts. Life changing secrets are exposed, the dead rise from the grave and a once-broken family finds solace from the harsh world within itself. It’s all well done, steadily tailored and glossed, but the bigger moments don’t pull you in like they should.Cruz delivers like a champ despite the film’s mostly flat tone. The early raves for her performance are dead-on. She’s never been better, not even in her other much lauded Spanish-language work. Her verve here is infectious and her pain believable. She knew she was making a Pedro Almódovar film. It’s too bad the director seemed to be aiming for something else. Review originally posted at Blog Critics.
]]>Thu, 26 Jun 2008 03:38:21 GMTmike_moodyMoody's Movie Blog6/25/2008 11:38:21 PM Volver, a charming minor work by Pedro Alm&oacute;dovar, is probably my least favorite film by the great Spanish director.Since the 1980s, Alm&oacute;dovar has delivered a successful string of florid and risky melodramas about Spanish women and their families. For his last two films, Alm&oacute;dvar focused his lens on men, with glorious results. He won an Academy Award for Best Screenplay for 2002&rsquo;sHabla Con Ella (Talk to Her), a tender drama about two very flawed men in love with comatose women. 2004 saw the release of La Mala Educaci&oacute;n (Bad Education), the director&rsquo;s acclaimed and gripping Hitchcockian suspense tale about two male lovers connected by sexual abuse. Volver, which means &ldquo;to return&rdquo; in Spanish, is an apt title for Alm&oacute;dovar&rsquo;s latest, his comeback to the land of the lady. It marks another film about strong women, another great role tailored for Pen&eacute;lope Cruz (the two worked together on 1999&rsquo;s Todo Sobre Mi Madre), but a small regression for the director.With Volver, Alm&oacute;dovar tells a female-centric story that touches on all of his hallmark issues &mdash; death, abuse, deceit, family and friendship &mdash; but he lets the melodrama simmer instead of boil.Most directors categorized by their penchant for the melodramatic offer laughable or cold results, but Alm&oacute;dovar has always turned high drama into high art. Check his earlier work, especially Madre, and you&rsquo;ll find visually explosive and powerful films that can essentially be read as artful soap operas. Volver is a story made to be told with such roaring operatics and only traces of the intimate tone present inHabla Con Ella. Alm&oacute;dovar opts for the opposite this time, dampening what could have been a more lively, hot-blooded tale of lives rekindling with a tone too muted. It&rsquo;s almost like he was timid about displaying his knack for flamboyance.Cruz plays Raimunda, an overworked mother married to a vulgar drunk in Madrid. We meet Raimunda on one of her many trips to her hometown village, scrubbing away at her parents&rsquo; tombstone with the help of her teenage daughter Paula (Yohana Cobo) and her sister Sole (Lolela Due&ntilde;as). After refurbishing the gravesite, the women visit their geriatric and comically loopy aunt (Chus Lampreave), who&rsquo;s on the verge of death herself. The first twenty minutes of the film play out slowly, establishing the central characters&rsquo; tight bonds and complicated relationships. Things pick up after Paula kills her father with a kitchen knife defending herself from his sexual advances, spurring Raimunda to hide the body and, in essence, take charge of her own life. Then, Sole returns to the village for her aunt&rsquo;s funeral and comes back accompanied by her mother&rsquo;s ghost.Alm&oacute;dovar plays all of this surprisingly straight. He documents the strangeness and struggles Raimunda must endure after her husband&rsquo;s death &mdash; which includes stuffing his body in a large freezer and burying it by a lake &mdash; with much less of the dark wit and high style he&rsquo;s famous for. What follows are a number of diverting and funny, but only mildly compelling, scenes of Raimunda and her clan making sweet music, sometimes literally, out of their hard lives and painful pasts. Life changing secrets are exposed, the dead rise from the grave and a once-broken family finds solace from the harsh world within itself. It&rsquo;s all well done, steadily tailored and glossed, but the bigger moments don&rsquo;t pull you in like they should.Cruz delivers like a champ despite the film&rsquo;s mostly flat tone. The early raves for her performance are dead-on. She&rsquo;s never been better, not even in her other much lauded Spanish-language work. Her verve here is infectious and her pain believable. She knew she was making a Pedro Alm&oacute;dovar film. It&rsquo;s too bad the director seemed to be aiming for something else. Review originally posted at Blog Critics. http://www.spout.com/blogs/cinemarian/archive/2008/5/12/28761.aspx Post By: CinemaRian
Post To: CinemaRian Blog
Post Date: 5/12/2008 10:36:07 PM
Body: The title in English means Returning. So here's yet another critically aclaimed film from 2006 which I found to be massivley overrated. Returning has gaged an incredible 90% on the tomato meter (rising to 95% for the "cream of the crop" section), and has made many critic's ten best lists. I was not a fan of Almodovar going in (out of ignorance, not malice, as this his first film that I've seen), but I am far less motivated to seek out his other works now. If this is near his best, I'm not sure if I want to think about his worst. Returning has such a convoluted plot that I am going to reveal more of it than I usually do. Skip to the folowing paragraph, however, if you don't want to know many of the film's unlikley twists and turns. The movie opens as Raimunda (Penelope Cruz) visits the grave of her mother (Carmen Maura). The following day, Raimunda returns home her job as a custodian and finds that her daughter Paula (Yohana Cobo) has killed her husband Paco (Antonio de la Torre) in self defense after he tried to rape her. While disposing of the body, she also learns that her aunt (Chus Lampreave) had died of natural causes. Then her sister (Lola Duenas) is visted by the ghost of her mother. At the same time, family friend Agustina (Blanca Portillo) learns that she has terminal cancer, but could recieve life-saving treatment in Texas if she will appear on Jerry Springer-like TV show and reveal family secrets. If you made it through that plot description, you can probably guess that I am going to say that the movie is overwraught and hard to beleive. Any of these plotlines might be an interesting movie unto itself, but melodramtic revolation piles on melodramatic revalation and by the time the ghost of the mother appears, you stop beleving in the film. And I don't know about you, but I didn't need the scene where Cruz, a very beautiful woman, urinates in the bathroom. Speaking of Cruz, her performance is the best part of the movie and she displays far more depth here than she has any of her American work (not her fault, since her parts were mostly so one-deminsional that it would be hard for any actress to express themsevles). In fact, the entire cast is excellent (I particularly liked Cobo as the daughter), but on a movie that's too rediculous to be played as drama, shot by a director who is too blind to play it as comedy. I don't know if Almodovar actully thought this material would work or was having a joke on us, but it's not funny, and in fact, isn't much at all. Volver (2006)
]]>Tue, 13 May 2008 02:36:07 GMTCinemaRianCinemaRian Blog5/12/2008 10:36:07 PMThe title in English means Returning. So here's yet another critically aclaimed film from 2006 which I found to be massivley overrated. Returning has gaged an incredible 90% on the tomato meter (rising to 95% for the "cream of the crop" section), and has made many critic's ten best lists. I was not a fan of Almodovar going in (out of ignorance, not malice, as this his first film that I've seen), but I am far less motivated to seek out his other works now. If this is near his best, I'm not sure if I want to think about his worst. Returning has such a convoluted plot that I am going to reveal more of it than I usually do. Skip to the folowing paragraph, however, if you don't want to know many of the film's unlikley twists and turns. The movie opens as Raimunda (Penelope Cruz) visits the grave of her mother (Carmen Maura). The following day, Raimunda returns home her job as a custodian and finds that her daughter Paula (Yohana Cobo) has killed her husband Paco (Antonio de la Torre) in self defense after he tried to rape her. While disposing of the body, she also learns that her aunt (Chus Lampreave) had died of natural causes. Then her sister (Lola Duenas) is visted by the ghost of her mother. At the same time, family friend Agustina (Blanca Portillo) learns that she has terminal cancer, but could recieve life-saving treatment in Texas if she will appear on Jerry Springer-like TV show and reveal family secrets. If you made it through that plot description, you can probably guess that I am going to say that the movie is overwraught and hard to beleive. Any of these plotlines might be an interesting movie unto itself, but melodramtic revolation piles on melodramatic revalation and by the time the ghost of the mother appears, you stop beleving in the film. And I don't know about you, but I didn't need the scene where Cruz, a very beautiful woman, urinates in the bathroom. Speaking of Cruz, her performance is the best part of the movie and she displays far more depth here than she has any of her American work (not her fault, since her parts were mostly so one-deminsional that it would be hard for any actress to express themsevles). In fact, the entire cast is excellent (I particularly liked Cobo as the daughter), but on a movie that's too rediculous to be played as drama, shot by a director who is too blind to play it as comedy. I don't know if Almodovar actully thought this material would work or was having a joke on us, but it's not funny, and in fact, isn't much at all. Volver (2006) http://www.spout.com/groups/Female_Hysteria/Re_The_idea_of_female_hysteria_in_films/27/27292/1/ShowPost.aspx Post By: chrismorrell
Post To: Female Hysteria
Post Date: 4/14/2008 6:05:17 PM
Body: [quote user="patches"]There are several films that have portrayed women as these ranting, insane, unstable creatures. The characters lose control of their emotions and need to be slapped. The phrase "Get ahold of yourself!" might be uttered. And it's pretty incredible. Wikipedia writes: http://en.wikipedia.org/wiki/Female_hysteria[/quote] Black and White images of Barbara Stanwick ,Joan Crawford and Bette Davis ,screaming,with mascara running down ... The current top hysteria gal,must surely be Naomi Watts.(my all time fave).she does runny-nosed crying soo well..."Mulholland Drive" spoilt me for movie watching for ages,has anyone ever ,before or since given such a gut-wrenching total,turning inside out performance?.. "21 grams" gave her another grief- stricken sob of a workout. Even in her "bad" films,(like"Ring" and "Funny Games" )we know we are getting some masterly screaming etc... Thinking back...check out all that screaming at the start of "Kiss Me Deadly",courtesy of Cloris Leachman ,totally ace..ah,then what about Madeliene Khan in High Anxiety?..back to David Lynch,and wigg-out duties are taken up by Laura Dern in "inland Empire" parts of which i worry about seeing again... A definite Queen of the Hysterics is Carmen Maura (more recently found hiding from Penelope cruz in "Volver",along with the other Tomato cocktail drinkers in "Women on the verge of a nervous breakdown" ,but, dont you think everything sounds more hysterical when it needs subtitles.. cheers Chris M
]]>Mon, 14 Apr 2008 22:05:17 GMTchrismorrellFemale Hysteria4/14/2008 6:05:17 PM[quote user="patches"]There are several films that have portrayed women as these ranting, insane, unstable creatures. The characters lose control of their emotions and need to be slapped. The phrase "Get ahold of yourself!" might be uttered. And it's pretty incredible. Wikipedia writes: http://en.wikipedia.org/wiki/Female_hysteria[/quote] Black and White images of Barbara Stanwick ,Joan Crawford and Bette Davis ,screaming,with mascara running down ... The current top hysteria gal,must surely be Naomi Watts.(my all time fave).she does runny-nosed crying soo well..."Mulholland Drive" spoilt me for movie watching for ages,has anyone ever ,before or since given such a gut-wrenching total,turning inside out performance?.. "21 grams" gave her another grief- stricken sob of a workout. Even in her "bad" films,(like"Ring" and "Funny Games" )we know we are getting some masterly screaming etc... Thinking back...check out all that screaming at the start of "Kiss Me Deadly",courtesy of Cloris Leachman ,totally ace..ah,then what about Madeliene Khan in High Anxiety?..back to David Lynch,and wigg-out duties are taken up by Laura Dern in "inland Empire" parts of which i worry about seeing again... A definite Queen of the Hysterics is Carmen Maura (more recently found hiding from Penelope cruz in "Volver",along with the other Tomato cocktail drinkers in "Women on the verge of a nervous breakdown" ,but, dont you think everything sounds more hysterical when it needs subtitles.. cheers Chris M http://www.spout.com/blogs/jakestevens/archive/2007/12/5/22575.aspx Post By: JakeStevens
Post To: JakeStevens Blog
Post Date: 12/5/2007 11:34:32 PM
Body: A very touching a quirky comedy about a group of women in Spain with many secrets to hide. Pedro Almodóvar is obviously a director who knows his craft - his films are filled with breathtaking cinematography and a master's touch for narrative. Very fine film, but pay close attention to the dialogue - occasionally the characters speak very fast and unless you can read very quickly, you may miss some of the subtitles.
]]>Thu, 06 Dec 2007 04:34:32 GMTJakeStevensJakeStevens Blog12/5/2007 11:34:32 PMA very touching a quirky comedy about a group of women in Spain with many secrets to hide. Pedro Almod&oacute;var is obviously a director who knows his craft - his films are filled with breathtaking cinematography and a master&#39;s touch for narrative. Very fine film, but pay close attention to the dialogue - occasionally the characters speak very fast and unless you can read very quickly, you may miss some of the subtitles. http://www.spout.com/blogs/stanjan1/archive/2007/12/1/22444.aspx Post By: stanjan1
Post To: stanjan1 Blog
Post Date: 12/1/2007 7:13:44 PM
Body: Apparently Mark Deming, All Movie Guide and I viewed different versions of the film Volver. The version that I seen did not contain any ghosts but what appeared to be a ghost until all was cleared up about the "death" of Raimunda's mother in the last third of the movie. I thought the movie, the plot and the acting were very good.
]]>Sun, 02 Dec 2007 00:13:44 GMTstanjan1stanjan1 Blog12/1/2007 7:13:44 PMApparently Mark Deming, All Movie Guide and I viewed different versions of the film Volver. The version that I seen did not contain any ghosts but what appeared to be a ghost until all was cleared up about the &quot;death&quot; of Raimunda&#39;s mother in the last third of the movie. I thought the movie, the plot and the acting were very good. http://www.spout.com/blogs/jscott/archive/2007/9/26/20167.aspx Post By: JScott
Post To: JScott Blog
Post Date: 9/26/2007 6:46:01 PM
Body: Back in 2006 I was in Telluride, Colorado for the 33rd Annual Telluride Film Festival which gave their silver medals (for lifetime achievment essentially) to both Penelope Cruz and Rolf de Heer. Penelope's tribute had lines around the theatre and had people turned away. The one for Rolf was in a tiny venue (known as the Sheraton Opera House) that sat maybe 100 people. The show wasn't sold out and we were led into the event by watching clips from Rolf's other films Bad Boy Bubby and a few others. While they seemed very gritty and true, they also kind of turned me off of this man's work. Though I do appreciate that he wanted to take a look at the love life/sexual desires of the developmentally challenged. Long story longer, Ten Canoes was my favorite film of the fesitval, even going head-to-head with Pedro Almodovar's (my favorite living director) Volver. It is a fable about life, death and the constant desire to be older than you are ready to be. The story is told by a narrator (David Gulpilil Ridjimiraril Dalaithngu, the aboriginal boy from Nicolas Roeg's Walkabout) and spans two seperate life cycles. Not only is the tale inciteful but the real life canoe making is interesting to watch. Ten Canoes is the first film ever made to only be made in an aboriginal language which celebrates their heritage and culture, both which are dying. The film is warm, funny and at times shocking. These "uncivilized" people aren't much different from you, me or anyone else in your city. They all want to love and be loved, they all have vices and they think farting is funny and in this film it very much is. The subtleties in the camera work (including, but limited to, the exact picture drawn on the chest of Minygululu [Peter Minygululu] the elder matches the area where his soul is deposited, waiting to be reincarnated). The use of the same actor (Jamie Dayindi Gulpilil Dalaithngu) in two story lines infact shows that cyclical nature of their beliefs and other the film. Also not to mention that he is the younger brother of the narrator who is telling the story of "his ancestors." This film is an incredible oppertunity to see into a culture that most of us will never have a chance to witness. This film would make an incredible double-feature with the previously mentioned Walkabout (or The Tracker) if anyone is interested in a wholely Australian experience. This film may not have the complexity and depth of Walkabout but it shines in other ways and is very much worth a viewing. I have absolutely no reservations about giving this film 5 stars.
]]>Wed, 26 Sep 2007 22:46:01 GMTJScottJScott Blog9/26/2007 6:46:01 PMBack in 2006 I was in Telluride, Colorado for the 33rd Annual Telluride Film Festival which gave their silver medals (for lifetime achievment essentially) to both Penelope Cruz and Rolf de Heer. Penelope's tribute had lines around the theatre and had people turned away. The one for Rolf was in a tiny venue (known as the Sheraton Opera House) that sat maybe 100 people. The show wasn't sold out and we were led into the event by watching clips from Rolf's other films Bad Boy Bubby and a few others. While they seemed very gritty and true, they also kind of turned me off of this man's work. Though I do appreciate that he wanted to take a look at the love life/sexual desires of the developmentally challenged. Long story longer, Ten Canoes was my favorite film of the fesitval, even going head-to-head with Pedro Almodovar's (my favorite living director) Volver. It is a fable about life, death and the constant desire to be older than you are ready to be. The story is told by a narrator (David Gulpilil Ridjimiraril Dalaithngu, the aboriginal boy from Nicolas Roeg's Walkabout) and spans two seperate life cycles. Not only is the tale inciteful but the real life canoe making is interesting to watch. Ten Canoes is the first film ever made to only be made in an aboriginal language which celebrates their heritage and culture, both which are dying. The film is warm, funny and at times shocking. These "uncivilized" people aren't much different from you, me or anyone else in your city. They all want to love and be loved, they all have vices and they think farting is funny and in this film it very much is. The subtleties in the camera work (including, but limited to, the exact picture drawn on the chest of Minygululu [Peter Minygululu] the elder matches the area where his soul is deposited, waiting to be reincarnated). The use of the same actor (Jamie Dayindi Gulpilil Dalaithngu) in two story lines infact shows that cyclical nature of their beliefs and other the film. Also not to mention that he is the younger brother of the narrator who is telling the story of "his ancestors." This film is an incredible oppertunity to see into a culture that most of us will never have a chance to witness. This film would make an incredible double-feature with the previously mentioned Walkabout (or The Tracker) if anyone is interested in a wholely Australian experience. This film may not have the complexity and depth of Walkabout but it shines in other ways and is very much worth a viewing. I have absolutely no reservations about giving this film 5 stars. http://www.spout.com/members/0/tags/comedy/MemberTagFilms.aspxcomedy
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