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Almost operatic in its execution, TALK TO HER
packs quite a wallop. By depicting how two men
deal with the women they love– who are both in a
coma, filmmaker Pedro Almodovar delivers a movie
overflowing with emotional riches. Stunning
performances by a superb cast add to the film’s
overall impact. But Javier Camara, as a nurse who
carries on one-way conversations with his comatose
patient, walks away with the movie’s highest
honors from me.
Camara plays Benigno, a man used to taking care of
women, with such dramatic confidence! Displaying a
knowing smile that hides his character’s intense
feelings, Camara reminded me of the spellbinding
Sergi Lopez in WITH A FRIEND LIKE HARRY. After
Benigno’s mother celebrated turning 40 by never
leaving her bed again, he had to wait on her day
and night. Like a good son, Benigno even took
nursing classes to help him do a better job of
caring for her. Later, when he’s hired as a nurse
for Alicia (Leonor Watling), a ballet student in a
coma as the result of an auto accident, it fills
him with joy – for he once admired this beautiful
young woman from afar.
Benigno meets writer Marco (Dario Grandinetti) and
tries to help him cope with sadness after his
loved-one also slips into a coma. Lydia (Rosario
Flores), a daring bullfighter, is gored by a bull
and admitted to the clinic where Benigno works.
The two men develop an unusual friendship, one
that faces monumental challenges because of
Benigno’s passion for Alicia.
As in a well-staged opera, the film’s elements of
romance, tragedy, music, ballet, and sensuality
come together with impressive artistry. I’m still
haunted not only by the movie’s provocative theme
but also by Caetano Veloso’s pure, melodic
rendition of "Cucurrucuci paloma," the rythmic
Cabo Verde mazurca, and Pina Bausch’s enthralling
choreography.
My only complaint about this memorable film
involves a lengthy "Shrinking Lover" sequence
inserted about half way through the movie. While
Benigno describes a black-and-white silent flick
to Alicia, the actual film he saw appears on
screen. I admit it’s very creative, but I also
found it distracting and much too graphic.
Director Almodovar (ALL ABOUT MY MOTHER) explains,
"The decision that it should be silent and in
black and white is due to the fact that this is
the last genre discovered by Alicia before her
accident. An interest which Benigno inherits from
her." Still, it didn’t work for me.
Loneliness and longing loom over TALK TO HER like
dark clouds circling the sun. "Loneliness is
something which all the characters in the film
have in common," says Almodovar. "Even the bull is
left alone in the huge ring when Lydia is taken to
the infirmary. . . Loneliness, I guess, is
another possible title for this film."
Despite dwelling on such gloom and doom, TALK TO
HER ends on a hopeful note. Almodovar reaffirms
his faith here in the power of words as weapons
against loneliness. "I’ve always believed in
words," he says. TALK TO HER demonstrates that
even monologues before a silent person can be an
effective form of dialogue and communication. But,
more important to me, this film represents
cinematic storytelling at its best.
(Released with English subtitles by Sony Pictures
Classics and rated "R" for nudity, sexual content
and some and language.)
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