'Broken Embraces' is thoroughly satisfying and well-crafted piece of the cinema that continues to exhibits Pedro Almodovar's master touch and Penelope Cruz's continued ability to charm.
Auteurs often get a hard time when they make a great film rather than an excellent film. The art house crowd seem to get caught up enforcing higher standards to their favourite filmmakers than they do to minor names. Hence the negative buzz surrounding 'Broken Embraces' upon its release in London (the same has been evident on the releases of 'Antichrist' and 'Inglourious Basterds'). Never mind that the film is still a lot better than most others currently in cinemas (Dance Flick, G.I. Joe, The Proposal, Coco Before Chanel, The Taking of Phelam 123, etc, etc, etc). Though oddly enough the negative buzz seems only to be amongst the public, and even in some very sharp reviews, the critic ends up admitting the very strong nature of the film.
The plot is as multi-layered as Almodovar is known for. Blind screenwriter Harry Caine is drawn back into the past when he still had sight and was still known as the acclaimed filmmmaker Mateo Blanco. Blanco secures funding for a new film from businessman Ernesto Martel on the condition that he casts Martel's mistress Lena (Cruz). Lena and Mateo soon fall in love with consequences that will change the lives of a whole group of characters, including the production manager, a gay man repressed by his father and a club DJ.
Broken Embraces is full of colour and life. The colour owing no doubt to the eye of Almodovar and his new partner in images - Rodrigo Prieto, cinematographer known for the stunning-looking Babel, 21 Grams, and Brokeback Mountain. This film looks better than anything else that has been put on screen so far this year, except maybe for 'Inglourious Basterds.' The images from this film burst with passion at the appropriate moments, and haunting at others, a particularly striking image of a blind man heading in the wrong direction to a large yellow wall hits at just the right moment.
The film is full of life owing to the performances of the actors. Penelope Cruz is on form here with a screen presence that draws the eye in a way that no other actress working today can. Lluis Homar is incredibly subtle in his performance, I was continually fooled into thinkg Homar had lost his sight real life.
The film isn't as cleverly written as some of Almodovar's earlier films and recalling 'Women on the Verge of a Nervous Breakdown' doesn't help. The film might be just too heavily plotted and rely a little too bit on narration to the point where it becomes distancing. For a moment here or there.
If this film isn't the best Almodovar, don't hold it against him. At least it is still Almodovar and he is still pretty fucking good at what he does.
