Following an elegant, abstract credits sequence courtesy as ever of Juan Gatti, displaying seeping marbled colors that suggest how past, present, fact and fiction will flow into one another, we see Salvador symbolically suspended underwater, isolated from the world, an appropriate early image for such a sealed-off pic. A strikingly gaunt and grizzled Antonio Banderas, who first worked with Almodovar as far back as 1982’s Labyrinth of Passion, plays 60-ish Salvador Mallo, an auteur struggling with issues of creativity brought on by ill health. Pain and Glory reunites many actors from the different periods of a mostly distinguished career. But it’s unlikely to be remembered with any great fondness by all but Almodovar diehards, its self-regarding inwardness suggesting that he’s struggling, as his hero is here, to find something new to say.
Pain and Glory teems with all the things we relish about him: the importance of women (especially his mother), shameless nostalgia and celebration of sexuality are all present and, of course, in its overstated way, the film is unfailingly great to look at.
On this evidence, Almodovar is approaching his 70th birthday with his love of moviemaking undiluted. This thinly disguised autobiographical roundup of the Spanish auteur’s personal and filmic past as seen through the eyes of an aging director would be termed a homage were it the work of anybody else - and though it might feel somewhat awkward that this particular sumptuous, exquisite love letter to the powerful cult of Almodovar has been made by the man himself, there’s still plenty about it to admire.
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Pedro Almodovar casts Antonio Banderas and Penelope Cruz in his new film, which amounts to a stylized summary of his life and work.Īny young movie buff seeking a shortcut guide to the work, life and style of Pedro Almodovar without having to plow through the whole 20-film oeuvre could do worse than head straight for Pain and Glory.
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