list http://www.spout.com/ Recent community activity around Tie Me Up! Tie Me Down! 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/Tie_Me_Up_Tie_Me_Down/35086/default.aspx Title: Tie Me Up! Tie Me Down!
Year: 1990
Director: Pedro Almodóvar
Plot: "I'll never love you . . . ever!" the sexy and attractive Marina (Victoria Abril) states emphatically to the love-struck Ricky (Antonio Banderas). You know she means what she says because when she makes this statement she is handcuffed and lashed to a bed, not exactly the proper way to warm anyone up for romance. Yet in Pedro Almodovar's Tie Me Up! Tie Me Down! the way to a woman's heart is depicted as being held in captivity until the Stockholm Syndrome kicks in. The film concerns the plight of Marina, a "B"-movie diva trying to adjust to her recent success after years of porno films and drug addiction. But then into her life comes Ricky, a part-time handyman and full-time mental patient, who, during one of his past escapes from the mental ward, had spent the night with Marina -- who gave in to him during one of her less-discerning moments. Since then, Ricky has been thinking of her constantly. Determined to win her affections, he kidnaps Marina, holding her captive in her own apartment and trying everything to convince her to love him -- then they could marry and have a big family. All Ricky's attempts to woo Marina fail. Finally, after taking a severe beating from some street thugs, he strikes a chord in Marina's nurturing heart so that when her sister Lola (Loles Leon) finally discovers her plight, Marina no longer wants to be rescued. ~ Paul Brenner, All Movie Guide
Times Tagged: 8
Number of Lists: 15
Number of blog posts: 2
SpoutRating: 4
]]>Sun, 22 Jun 2008 12:30:28 GMTTie Me Up! Tie Me Down!1990Pedro Almodóvar"I'll never love you . . . ever!" the sexy and attractive Marina (<a href="/players/P______156/default.aspx" style='text-decoration:underline'>Victoria Abril</a>) states emphatically to the love-struck Ricky (<a href="/players/P_____3682/default.aspx" style='text-decoration:underline'>Antonio Banderas</a>). You know she means what she says because when she makes this statement she is handcuffed and lashed to a bed, not exactly the proper way to warm anyone up for romance. Yet in Pedro Almodovar's Tie Me Up! Tie Me Down! the way to a woman's heart is depicted as being held in captivity until the Stockholm Syndrome kicks in. The film concerns the plight of Marina, a "B"-movie diva trying to adjust to her recent success after years of porno films and drug addiction. But then into her life comes Ricky, a part-time handyman and full-time mental patient, who, during one of his past escapes from the mental ward, had spent the night with Marina -- who gave in to him during one of her less-discerning moments. Since then, Ricky has been thinking of her constantly. Determined to win her affections, he kidnaps Marina, holding her captive in her own apartment and trying everything to convince her to love him -- then they could marry and have a big family. All Ricky's attempts to woo Marina fail. Finally, after taking a severe beating from some street thugs, he strikes a chord in Marina's nurturing heart so that when her sister Lola (Loles Leon) finally discovers her plight, Marina no longer wants to be rescued. ~ Paul Brenner, All Movie Guide8Taggedy Taggged (6-10)1524http://www.spout.com/ProductImages/t08541vafp3.jpghttp://www.spout.com/films/Tie_Me_Up_Tie_Me_Down/35086/default.aspxFilm http://www.spout.com/blogs/sarcastig/archive/2007/5/20/9065.aspx Post By: sarcastig
Post To: As cool as a Fruitstand
Post Date: 5/20/2007 4:16:00 PM
Body: I recently watched, at the recommendation of a friend, the MadTV mashup of Grey's Anatomy and House. The Greys' anatomy part of it was funny enough, but rather obvious (and let's face it, the show isn't exactly hard to mock) but there was a line that stuck. To paraphrase: Grey's Anatomy is a show written for women by women. House is a show written by men for women who like abusive men.What does that make Atame? A movie written by a gay man for?Not gay men exclusively, I'm fairly certain. Sure, the set design couldn't be more campy, but the central pairing couldn't be more heterosexual, and while I'm sure any gay men likes looking at Antoinio Banderas (so young here, so young...) as much as the next girl, I'm sure they're not the only target. But then, who is?My dad liked it, but mostly for the style and photography: he thought the "message" (I highly doubt there is one intended) was too misogynist, as in his view the movie argued the way to make a woman love you was to hit her and tie me up. My mother (A "new conservative" according to some web test, though she vehemently denies it) liked it to, though she thought it was a little weird.As for me? Well, what can I say, I have a huge crush on House.I think that of the three early Almodovar films I've seen (the others being Matador and Mujeres al borde de un ataque de nervios), this might be my favorite. I like Mujeres a lot, but it does get so silly at the end that it kind of loses its heart, and in my eyes it is a little contemptuous of some of its characters. I loved Matador, but I'm not sure the conclusion worked. This film, while there are some clear weak spots to be found, enchanted me, maybe because it's so Hitchcockian, but at the same time so much more free and fun.Hitchcock said something along the lines that our should film every love scene like a murder, and every murder like a love scene. In this film, likewise, it's never quite clear whether a scene will end in sex or death. In Matador, this was the point of the whole film, but in Atame, it's a little more subtle, and a lot more relatable.The obvious Hitchcockian parralel to this film is of course another favorite of mine: Marnie. In both films, we have the damaged, fierce woman who a man with a violent streak tries to tame. Almodovar does Hitchcock one better here though: not only does the woman here get set free only to come back willingly, but it's even the case that when she finally gives in (and even somewhat before that) she's the one in control. Marnie is a very racy film, but it never dares to go that far, to transcend gender roles and expectations quite so much.With Hitchcock films, I always get the feeling he must have been quite the kinky guy, but still repressed in a way (hey, he couldn't help it, he was british, after all). With Almodovar, I get the feeling he's not only fascinated by the kinky side of humanity, but that he also has a deep understanding of it.As an aside: the tiny man, huge woman image he revisited in Hable Con Ella is also present here.Whatever the case, I'm glad there are still more old films of his to discover (La ley del deseo, in particular, but also Tacones Lejanos (High Heels) and Carne Tremula), and that we can look forward to many of his more mature entries like Volver also. Syndicated Feed From:As cool as a Fruitstand
]]>Sun, 20 May 2007 20:16:00 GMTsarcastigAs cool as a Fruitstand5/20/2007 4:16:00 PMI recently watched, at the recommendation of a friend, the MadTV mashup of Grey's Anatomy and House. The Greys' anatomy part of it was funny enough, but rather obvious (and let's face it, the show isn't exactly hard to mock) but there was a line that stuck. To paraphrase: Grey's Anatomy is a show written for women by women. House is a show written by men for women who like abusive men.What does that make Atame? A movie written by a gay man for?Not gay men exclusively, I'm fairly certain. Sure, the set design couldn't be more campy, but the central pairing couldn't be more heterosexual, and while I'm sure any gay men likes looking at Antoinio Banderas (so young here, so young...) as much as the next girl, I'm sure they're not the only target. But then, who is?My dad liked it, but mostly for the style and photography: he thought the "message" (I highly doubt there is one intended) was too misogynist, as in his view the movie argued the way to make a woman love you was to hit her and tie me up. My mother (A "new conservative" according to some web test, though she vehemently denies it) liked it to, though she thought it was a little weird.As for me? Well, what can I say, I have a huge crush on House.I think that of the three early Almodovar films I've seen (the others being Matador and Mujeres al borde de un ataque de nervios), this might be my favorite. I like Mujeres a lot, but it does get so silly at the end that it kind of loses its heart, and in my eyes it is a little contemptuous of some of its characters. I loved Matador, but I'm not sure the conclusion worked. This film, while there are some clear weak spots to be found, enchanted me, maybe because it's so Hitchcockian, but at the same time so much more free and fun.Hitchcock said something along the lines that our should film every love scene like a murder, and every murder like a love scene. In this film, likewise, it's never quite clear whether a scene will end in sex or death. In Matador, this was the point of the whole film, but in Atame, it's a little more subtle, and a lot more relatable.The obvious Hitchcockian parralel to this film is of course another favorite of mine: Marnie. In both films, we have the damaged, fierce woman who a man with a violent streak tries to tame. Almodovar does Hitchcock one better here though: not only does the woman here get set free only to come back willingly, but it's even the case that when she finally gives in (and even somewhat before that) she's the one in control. Marnie is a very racy film, but it never dares to go that far, to transcend gender roles and expectations quite so much.With Hitchcock films, I always get the feeling he must have been quite the kinky guy, but still repressed in a way (hey, he couldn't help it, he was british, after all). With Almodovar, I get the feeling he's not only fascinated by the kinky side of humanity, but that he also has a deep understanding of it.As an aside: the tiny man, huge woman image he revisited in Hable Con Ella is also present here.Whatever the case, I'm glad there are still more old films of his to discover (La ley del deseo, in particular, but also Tacones Lejanos (High Heels) and Carne Tremula), and that we can look forward to many of his more mature entries like Volver also. Syndicated Feed From:As cool as a Fruitstand http://www.spout.com/blogs/hairylime/archive/2007/2/26/5786.aspx Post By: HairyLime
Post To: HairyLime Blog
Post Date: 2/26/2007 10:32:00 AM
Body: Kudos to Alan Arkin - complete surprise in this category, but an often underappreciated actor (my favorite Alan Arkin roles: Grosse Pointe Blank, Wait Until Dark, Catch 22, Edward Scizzorhands, Glenngerry Glen Ross, Little Miss Sunshine)Kudos to Ennio Morricone, one of my favorite film composers, and a tribute long overdue (my favorite Morricone scores: Once Upon a Time in America, Tie Me Up Tie Me Down, Once Upon a Time in the West, Untouchables)Kudos to Martin Scorcese, long overdue for a TON of work equally worthyoverall show quality - give Ellen the boot, those sillouette dancers the boot, bring on much more film clip montages, when is Hollywood going to understand that film is the medium they excell in, not stagecraft - leave that to the Tonys -- I'd also appreciate more attention on the scores to the films and much less attention to the 'original song' categoryNot a Jack Black or Will Ferrell fan, but their segment was the funniest thing of the night. (besides the Wes Anderson commercial for Mastercard or the 'hello' commercial for the iPhone)Robbed: Borat, Little Children both should have been in the best picture category, or how about Nacho Libre for original screenplay? Catherine O'Hara in 'For Your Consideration'
]]>Mon, 26 Feb 2007 15:32:00 GMTHairyLimeHairyLime Blog2/26/2007 10:32:00 AMKudos to Alan Arkin - complete surprise in this category, but an often underappreciated actor (my favorite Alan Arkin roles: Grosse Pointe Blank, Wait Until Dark, Catch 22, Edward Scizzorhands, Glenngerry Glen Ross, Little Miss Sunshine)Kudos to Ennio Morricone, one of my favorite film composers, and a tribute long overdue (my favorite Morricone scores: Once Upon a Time in America, Tie Me Up Tie Me Down, Once Upon a Time in the West, Untouchables)Kudos to Martin Scorcese, long overdue for a TON of work equally worthyoverall show quality - give Ellen the boot, those sillouette dancers the boot, bring on much more film clip montages, when is Hollywood going to understand that film is the medium they excell in, not stagecraft - leave that to the Tonys -- I&#39;d also appreciate more attention on the scores to the films and much less attention to the &#39;original song&#39; categoryNot a Jack Black or Will Ferrell fan, but their segment was the funniest thing of the night. (besides the Wes Anderson commercial for Mastercard or the &#39;hello&#39; commercial for the iPhone)Robbed: Borat, Little Children both should have been in the best picture category, or how about Nacho Libre for original screenplay? Catherine O&#39;Hara in &#39;For Your Consideration&#39; http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
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