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Broken EmbracesEnglish Movie Review

Illicit love, dark secrets, self-reflexive cinephilia and a drop-dead gorgeous Penélope Cruz – it could only be Pedro Almodóvar
The latest homage by Spain’s greatest-living auteur to his favourite latter-day leading lady, the movies and, well, himself, starts with through-the-viewfinder, grainy shots of Penélope Cruz and co-star Lluis Homar on a film set preparing for a scene. In the press notes, Almodóvar reveals that this is genuine rehearsal footage, with neither actor aware they were being filmed. If you find this a creepy violation of the artistic process, then Broken Embraces is not for you. But if you get a secret thrill from a director mining his own relationships and work in pursuit of another immaculately upholstered melodrama, then brace yourself for another of the maestro’s vice-like, taffeta-soft clinches.

The web of relationships this time out, straddling two timelines – the mid-1990s and late noughties – involves, in no particular order: writer-director Mateo (Lluís Homar), in earlier times a high-flying, libidinous filmmaker, then latterly a blind recluse who takes the name Harry Caine; his agent Judit (Blanca Portillo) an acid-tongued single mother (warning!) and her son/Harry’s assistant Diego (Tamar Novas); millionaire tycoon Ernesto Martel (José Luis Gomez); and his PA-turned-mistress Lena (Cruz), who yearns to be an actress and gets a role in Mateo’s latest comedy, bankrolled by her lover. Martel also insists that his semi-estranged, closeted son Ernesto Jr (Ochandiano) hang out on the film set, documenting everything for an ultra-personal ‘Making Of.’ Naturally he captures the growing attraction between Mateo and Lena, unleashing passion, violence and ultimately tragedy.

This doesn’t begin to encompass even half of the twists and turns in Almodóvar’s labyrinthine story, which seems to plough into major emotional signposts – Betrayal! Grief! Revenge! – like a drunk driver nailing traffic cones. It’s meaty, heady stuff, which, constantly probing the duality of filmmaking and behind-the-scenes shooting, turns into less a hall of mirrors than one giant mirror-ball, dazzling, reflecting and fragmenting Almodóvar’s usual flamboyant predilections.

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A man writes, lives and loves in darkness. Fourteen years before, he was in a brutal car crash on the island of Lanzarote. In the accident, he not only lost his sight, he also lost Lena, the love of his life.

This man uses two names: Harry Caine, a playful pseudonym with which he signs his literary works, stories and scripts, and Mateo Blanco, his real name, with which he lives and signs the film he directs. After the accident, Mateo Blanco reduces himself to his pseudonym, Harry Caine. If he can’t direct films he can only survive with the idea that Mateo Blanco died on Lanzarote with his beloved Lena.

In the present day, Harry Caine lives thanks to the scripts he writes and to the help he gets from his faithful former production manager, Judit García, and from Diego, her son, his secretary, typist and guide.

Since he decided to live and tell stories, Harry is an active, attractive blind man who has developed all his other senses in order to enjoy life, on a basis of irony and self-induced amnesia. He has erased from his biography any trace of his first identity, Mateo Blanco.

One night Diego has an accident and Harry takes care of him (his mother, Judit, is out of Madrid and they decide not to tell her anything so as not to alarm her). During the first nights of his convalescence, Diego asks him about the time when he answered to the name of Mateo Blanco, after a moment of astonishment Harry can’t refuse and he tells Diego what happened fourteen years before with the idea of entertaining him, just as a father tells his little child a story so that he’ll fall asleep.

The story of Mateo, Lena, Judit and Ernesto Martel is a story of “amour fou”, dominated by fatality, jealously, the abuse of power, treachery and a guilt complex. A moving and terrible story, the most expressive image of which is the photo of two lovers embracing, torn into a thousand pieces.

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Partly a film about films and partly a film about love, Pedro Almodovar’s “Broken Embraces” can’t quite decide where its allegiances lie. A restless, rangy and frankly enjoyable genre-juggler that combines melodrama, comedy and more noir-hued darkness than ever before, the pic is held together by the extraordinary force of Almodovar’s cinematic personality. But while its four-way in extremis love story dazzles, it never really catches fire. The Spanish helmer’s biggest-budgeted and longest movie to date will get warm hugs from local auds on release March 18; headed for Cannes in May, it goes out Stateside via Sony Pictures Classics later this year.

There’s a sense here that Almodovar, who’s now a stylistic law unto himself, may be more interested in stretching himself technically than in engaging with issues of the wider world. Card-carrying fans can prepare themselves for a rare treat. But those who hoped the pic would extend the quieter, more personal mood shown in “Volver,” as the 59-year-old helmer moves into the late phase of his career, will be disappointed to find that “Embraces” is made not of flesh and blood, but of celluloid.

Harry Caine (Lluis Homar, “Bad Education”) is a blind screenwriter and former director whose real name, which he abandoned after losing his sight in a car crash, is Mateo Blanco. News arrives of the death of corrupt stockbroker Ernesto Martel (Jose Luis Gomez), who once produced a movie Blanco directed, “Girls and Suitcases.”

Blanco’s former production manager, Judit (Blanca Portillo), who holds a candle for him, seems nervous at the news. And then a pretentious young man calling himself Ray X (Ruben Ochandiano), who turns out to be Martel’s son, asks Blanco to help write a script that’s intended as an act of vengeance against his neglectful father.

The film now flashes back to 1992, when Martel fell for his secretary, a wannabe actress-cum-part-time call girl, Lena (Penelope Cruz). By 1994, he and Lena are an item. However, when Lena auditions for “Girls and Suitcases,” Blanco also falls for her.

Chagrined, Martel gets his son (also Ochandiano, here as a wildly gauche, camp teenager) to spy on Blanco and Lena under the guise of making a docu about the shoot. Watching Martel’s life fall apart, as a lip reader (Lola Duenas) decodes Lena and Blanco’s conversations in the boy’s footage, is hilarious. But any compassion for Martel evaporates in the laughter — one of several moments when the film deliberately undermines a particular mood.

Following a disastrous trip to Ibiza, Martel and Lena break up, and Martel initiates a slow, costly revenge designed to destroy Blanco. Hereon, much of the action takes place amid the volcanic landscapes of Lanzarote, opening things visually even as the drama becomes more and more claustrophobic.

Script moves fluidly back and forth in time, with superb editing by regular Jose Salcedo, and some of the witty, pointed dialogue is among Almodovar’s best. The labyrinthine plot is thick with twists, turns and resonances. But a couple of questions linger — especially that the revelations in the final reel would hardly have remained under wraps for 14 years, given Blanco’s suspicions.

Cruz delivers a compelling, subtle perf as a woman continually aware that the shadow of tragedy hovers over her. But because her character is effectively split into three — Magdalena the grieving daughter, Lena the actress and lover, and Pina in “Girls and Suitcases” — auds will struggle to locate an emotional center behind the thesp’s dizzying range of costumes and wigs.

Homar, who literally wears Almodovar’s own ‘90s wardrobe, makes a commanding screen presence as Caine/Blanco, but the character’s reactions to his multiple tragedies (including being blinded) seem stoical to the point of catatonia. Gomez and Portillo are solid in theslightly smaller roles of Martel and Judit, respectively. Multiple cameos — including one by the helmer’s producer brother, Agustin — are enjoyable, though none help move the story forward.

Visually, the pic is an exquisite treat. Every richly hued wall is covered with eye-candy artwork, every doorway reps a second level of framing, and there is beauty even in the scattered contents of a drawer or in a pile of torn-up photos. Closeups are regularly used, particularly of Cruz’s hypnotically photogenic features.

Cinematic references abound. Several scenes featuring dangerous staircases recall Henry Hathaway’s ‘40s noir “Kiss of Death.” Pic’s title alludes to the Pompeii scene in Roberto Rossellini’s 1954 classic, “Voyage to Italy,” which Lena and Blanco watch in Lanzarote. And the entertaining “Girls and Suitcases” is a clear homage to Almodovar’s 1988 hit, “Women on the Verge of a Nervous Breakdown.” Score by longtime collaborator Alberto Iglesias superbly evokes the moods and movies “Embraces” is so in thrall to.

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Penelope Cruz is one of the most beautiful and captivating woman I have ever seen. In this movie she become your drug as well as all the characters in the movie. Your eyes are hooked on her and your persona actually makes you fall in love with her. I have warned you***

This is a real film, a homage to of the old black and white classics. A spanish subtitled film, the main character is a blind writer who reminiscences on a sequence of events which changed his and many others lives. Amazingly beautiful and intriguing direction and a wonderful script. I would watch again. It is not a thriller, or an action, or a rom-com, it is a visual telling of an interesting story with great acting, there are no juicy twists or underhand message, it is simply a captivating, enjoyable and beautiful movie.

———–

A man writes, lives and loves in darkness. Fourteen years before, he was in a brutal car crash on the island of Lanzarote. In the accident, he lost his sight along with the love of his life, Lena. This man uses two names: Harry Caine, a playful pseudonym with which he signs his literary works, stories and scripts, and Mateo Blanco, his real name, with which he lives and signs the film he directs. After the accident, Mateo Blanco reduces himself to his pseudonym, Harry Caine. If he can’t direct films he can only survive with the idea that Mateo Blanco died on Lanzarote with his beloved Lena. Since he decided to live and tell stories, Harry is an active, attractive blind man who has developed all his other senses in order to enjoy life, on a basis of irony and self-induced amnesia. He has erased from his biography any trace of his first identity, Mateo Blanco. One night Diego has an accident and Harry takes care of. During the first nights of his convalescence, Diego asks him about the time when he answered to the name of Mateo Blanco, after a moment of astonishment Harry can’t refuse and he tells Diego what happened fourteen years before with the idea of entertaining him, just as a father tells his little child a story so that he’ll fall asleep.

———————

Director: Pedro Almodovar

Writer(s): Pedro Almodovar

Release Date: November 20, 2009

Official Site: BrokenEmbracesMovie.com

Distributor: Sony Pictures Classics

Genre: Drama, Thriller

Starring

  • Penélope Cruz
  • Lluís Homar
  • Blanca Portillo
  • José Luis Gómez
  • Tamar Novas
  • Ruben Ochandiano
  • Angela Molina

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