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Talk to Her
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Directed by Pedro Almodóvar
Pedro Almodóvar follows his international success All About My Mother with an offbeat drama that explores the friendship of two men brought together under unusual but strangely similar circumstances. Benigno (Javier Camara) is a male nurse whose apartment overlooks a dance studio run by Katerina (Geraldine Chaplin); he often sits on his balcony and watches one of Katerina's students, Alicia (Leonor Watling), and he finds himself becoming infatuated with her. When Alicia is severely injured in an auto accident that leaves her in a coma, Benigno discovers she has been admitted to the hospital where he works, and he spends his days caring for a woman he now deeply loves but has barely met. Marco (Dario Grandinetti) is a journalist who was assigned to interview Lydia (Rosario Flores), a well-known female bullfighter whose on-the rocks romance with another toreador, "El Nino de Valencia" (Adolfo Fernandez), has made her the focus of the tabloid press. During Marco's interview with Lydia, he goes out of his way to treat her kindly, and she appears to return his attention. During the bull fight which follows, Lydia is gored by the bull, and is now in a coma; Marco is certain his interview broke her steely concentration, and he spends most of his days at the hospital, convinced her injuries are his fault. Alicia and Lydia are both housed in the same ward of the same hospital, and in time Benigno and Marco become close friends, bonding in their shared devotion to women who cannot return their affection. ~ Mark Deming, All Movie Guide
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by charly in charly Blog
loved it.
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Review by All Movie Guide
All Movie Guide
loved it.
As a filmmaker who has built a career out of creating stellar roles for actresses, director Pedro Almodóvar has taken on some bold challenges for Talk to Her. A bizarre love story of a technically nonexistent relationship, it doesn't allow for easy spiritual redemption. Simple melodramatic terms are avoided when the central female characters are rendered unresponsive but ever-present. One of them, Lydia (Rosario Flores), is even positioned in horrifying bullfighting scenes that capture all the gruesome sadness and reality of the ultramasculine sport. When the would-be leading ladies drop out into comas, the two men are forced to deal with all the messy and troubling aspects of relationships -- or lack thereof. Acting as the film's anchor, the balding and muscular Marco (Dario Grandinetti) cries intermittently throughout the film, a small detail that seems almost revolutionary in this context. With a bravery and steadfast kindness, he forges a friendship with the deeply troubled Benigno (Javier Camara) whose mental illness leads the film into several dark places, including a wildly cinematic fantasy construction of sexual exploration. By contrast, the freshly lit scenes of tenderness with crisp white cotton garments belie the destructiveness Benigno is capable of. However disturbing the situation eventually becomes, these scenes speak volumes about the power of devotion as a motivator. Several side characters provide a background for the themes dealt with in the central narrative -- that of the power of faith to renew and transform. But like many human relationships, the result isn't clearly defined, leaving a confusing mess of conflicting emotions. Also, like the film's many well-staged modern dance sequences, the power lies in the constant interplay of reasoning between logic and belief. Ambiguity is one of the film's best assets, leaving the viewer with plenty of moral space for existential questioning. ~ Andrea LeVasseur, All Movie Guide
 

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