It’s to be expected that Pain And Glory would get a huge turnout at the VIFF. Pedro Almodovar is a darling of the arthouse film world. The buzz is this time, he’s reuniting with Antonio Banderas for the first time in over 30 years. Is it worth the hype?
The film is told by the first-person view of film director Salvador Mallo. Salvador is in a pool meditating alone. He has had open-heart surgery in the past. He’s had issues involving both his family and his sexuality in his past. He became renowned through his breakthrough film Sabor– a still beloved in its current remastering — but considers every film since to be a failure. He’s also had issues with back pain and other medical issues. All of this has caused a struggle to get inspired again with filming. He knows he has to, but he can’t. Not even as his landmark film Sabor (‘flavor’ in Spanish) has been remastered and re-released.
Over time, he learns he has to make peace with his past. He first reflects back to his childhood. His mother was the biggest influence in his life. As a child, he was a dreamer and his mother always fancied him to be one. He did great in academic studies, but he had a love for singing and a special love for movie stars. He was sent over to a convent school; something that was of great expense to his mother. However he also reflects to the last days he was with his mother. He was so consumed with his filmwork and his writing, he was negligent to his ailing mother. He did however promise he would take her back to the countryside where she could spend her last days, but she died before he could.
As his film Sabor is being re-released and even shown to film enthusiast, he reunites with Alberto Crespo, the lead actor of the film. Mallo hasn’t spoken to Crespo in 30 years because of his perceived ‘bad’ performance in the film. Crespo is not happy to see him, but gets Mallo into smoking heroin. During his heroin-smoking, he’s able to recount some of his memories. One is of the time in his childhood when his parents had to move into a whitewashed cave house because of how poor they were. The mother hired a laborer to repaint the inside. As part of the deal, Salvador is to teach the illiterate laborer how to read and write.
Another flashback of past memories comes during a Q&A during a screening of Sabor. Mallo, at Crespo’s house at the time, is too down to attend, but corresponds with the crowd through Crespo’s phone. Crespo is able to tell the crowd of some of the wonderful memories of the 80’s and talks of Federico: Mallo’s boyfriend at the time. Federico is in the crowd and responds. That infuriates Mallo and he responds to Crespo violently. It just reminds him it’s another past memory he has to come to terms with. Mallo loved Federico and the two were almost inseparable, but Federico had a bad drug addiction at the time and Mallo had to end the relationship. The heroin abuse Mallo is addicted to is very similar to the struggle Federico went through during their time together. Eventually Federico and Mallo reconcile during a dinner. He learns Federico has sobered up since, moved to Buenos Aires, married a woman and fathered three children.
Over time, Mallo needs to recover from his own drug addiction and have further check-ups on his throat which causes him to choke for no reason. He knows his time is very limited, or feels strongly that it is. His assistant gives him tickets to an opening to an art gallery. Over at the opening, Salvador notices a drawing of a boy sitting with a book. That drawing isn’t any child. It’s Salvador! It then reminds him of the time in Salvador’s childhood the laborer was drawing a picture of Salvador sitting with a book as a thank-you gift. Only his mother would later hide the drawing without Salvador’s knowledge. After the laborer finished, he needed to bathe. Salvador left to lie down in the bed from all the heat, but woke up to get the man a towel. When he saw the laborer naked, Salvador had a look of delightful surprise and fainted. The laborer thought Salvador fainted of heat stroke.
Soon Salvador is able to buy the drawing and he sees the thank-you message from the laborer on the back. His assistant recommends Salvador to find the laborer through a Google search, but Salvador feels it’s not worth the bother. Soon Salvador does go for the surgery to get the growth removed from his throat. The film goes to a scene to Salvador’s childhood of him with his mother waiting for a train during a village fiesta and watching the fireworks in awe. Only it’s not a flashback. It’s a scene from a film Salvador is directing about his past life. His desire to film has returned again!
When one watches the film, one can easily wonder if this is a film meant to be autobiographical of Almodovar himself? The life of Salvador does seem to mirror Almodovar’s own life in many ways. Pedro himself fell in love with films and movie stars as a child He was sent to a religious school as a boy in hopes of becoming a priest and was abused. Pablo is openly gay, and of course became a renowned film maker. Even the falling out between Salvador and Crespo is actually symbolic of the falling out between Almodovar and Banderas. However there are a lot of differences between Salvador and Pedro. Salvador appears to be born around 1960 while Pedro was born in 1949. Salvador is an only child raised by a mother and father who’s rarely there while Pedro was one of four raised by both parents; his father being alcoholic. Salvador appears to have had one masterpiece film while Pedro has had decades of masterpiece films. Also while Salvador appeared to lack inspiration and the drive to make films after illness and physical setbacks, Almodovar appeared to continue well.
Nevertheless it still gets one thinking. The film got me thinking does Almodovar see Women On The Verge Of A Nervous Breakdown, his breakthrough film outside of Spain, to be garbage or the bane of his existence to him? Artsy types are so full of self-loathing! Also I have not been too familiar with Almodovar’s health problems. I have not known of any health problems happening to Almodovar. If there are any problems, they have not been made too public. Almodovar has made his back problem open recently, but did he ever have that throat problem? And the drug addiction. I know addiction is common in Almodovar films, but I haven’t heard of Almodovar addicted to heroin smoking.
This film may not be the best film Pedro Almodovar has done, but it has to be his most personal. There are a lot of similarities between Salvador and Pedro. There are also some that become questioning. Was Almodovar ever hooked on heroin? Is Almodovar envisioning what he could have been if he were a one-hit-film-wonder? One thing about Almodovar’s films is that he doesn’t just tell a story. He creates a lot of moods and images as if he’s paining a cinematic portrait. He tries to get us to feel the characters, feel the moments, feel the emotions. He has the ability to romanticize even the most bizarre moments. Even a man who impregnates a comatose woman (in 2002’s Talk To Her). This film is no exception. He helps us see the story through the eyes of Salvador in both his flashbacks and of the present moment, and romanticizes it. This is another accomplishment for Almodovar. It’s no wonder he’s become a film festival darling.
The funny thing of the film is that the flashbacks of Salvador’s childhood appear to be flashbacks. However it’s at the end that we learn that the flashbacks of his childhood we see are the flashbacks intended for Salvador’s new film. Filming within a film. That should have been apparent when there was Penelope playing the younger version of the mother in the flashbacks while the older mother had blue or green eyes. It made you wonder how did that happen? Now you know at the end.
The film also marks a great return to Almodovar collaborating with Antonio Banderas. Those of us in North America remember how he became a huge movie star in the 1990’s. What many did not know is that it was through Almodovar’s films that Banderas had his breakthrough. I still remember how he played a husband in Women On The Verge Of A Nervous Breakdown. Banderas actually acted in five of Almodovar’s film before breaking into the US upon the release of Mambo Kings. It appears like both made the other’s success. Here they reconnect and Banderas delivers what could be his most intimate, if not his best, acting performance ever. He does an excellent job of adding dimension to the character of the filmmaker in all of his joys, his hurts and his passions. Also Banderas isn’t afraid to show the surgery scars from his own open-heart surgery here.
Asier Exteandia is also good at the actor Crespo who is able to make peace with him, albeit turbulently. Also a delight to watch is Asier Flores as young Salvador. He added to the light-hearted parts of the film and even added some comedy too. The score from Alberto Iglesias helps dd to the feel to the film. Iglesias has contributed to the scores of many of Almodovar’s films and he does a great job of it again here.
The film could do well at this year’s Oscars. For the Cannes Film Festival, it was nominated for the Palme d’Or and won Best Actor for Banderas and Best Soundtrack for Iglesias. The International Cinephile Society gave the Prix Du Jury award to Almodovar and the Best Actor award to Banderas, and Banderas also won Best Actor at this year’s Hollywood Film Awards. This film is also Spain’s official submission to the Oscar category of Best International Feature Film; the seventh Almodovar film to be Spain’s official entry in this category.
I wouldn’t say Pain And Glory is worth the hype, but it is a very unique story. It almost autobiographical in some ways. Even if it’s not completely autobiographical, it makes a good story all its own.
Back on Saturday, I started my volunteer work for the Vancouver International Film Festival. It is my fourth year volunteering. It’s great being part of an event that gathers a lot of media attention and helps promote filmmaking.
If you look back to the late 1970’s, you might remember there being film festivals like the Toronto Film Festival and the Sundance Film Festival that garnered very little attention but were growing at the time. They were still below the ranks and renown of the more established film festivals in Europe like Cannes, Venice and Berlin. Since then, Sundance and Toronto have made a major impact on the film world with its releases and its promotion of films. The Vancouver International Film Festival started in 1982 and now ranks as one of the top film festivals in North America. It nevertheless does carry a bit of an identity crisis but does have a lot to offer.
Since the Vancouver International Film Festival, the VIFF, opened in 1982, it has grown to an annual attendance of 150,000 every year since 2003. The 2000’s saw the construction of a special theatre, the VanCity Theatre, and an adjacent office for the VIFF organizers. This year it features over 300 films from 59 countries. Quite a lot. Nevertheless many feel that the VIFF is sandwiched in the role of playing second-fiddle to the Toronto Film Fest. In fact one person frequently tells me that we always get the ‘leftovers’ from Toronto. It is true that we get a lot of films that have already had their show at Toronto, especially those that get a special presentation at the Visa screening room. Very rarely, if ever, does a big-name actor show up. At most, a big feature will only have a tech person in the audience at the VIFF. What’s also true is what the VIFF has to offer on its own. Firstly the VIFF has more Asians films than any film festival in North America. This year there are more than 100 from dozens of countries. The VIFF also features more Canadian films and works than any other film festival in Canada. Not even Toronto has as much. They’re too busy hyping up the Oscar contenders. The VIFF also features loads of documentaries. There are dozens this year too from a wide variety of topics. The VIFF also features a lot of short films and films for youth. The film festival is not simply a festival showing straight features but a wide variety of films from across the spectrum from shorts both animated and live action to at least four films longer than 4 hours. There’s also the possibility of Q&A sessions from directors and even actors.
The VIFF also has a lot of dealings going on. Some films will catch the eye of distributors and will work things out to have them shown to the big screen. Others, like documentaries, will be able to be shown on specialty television networks. Some will be promoted as videos or films for special groups or resource centers. Like last year I saw the Canadian film Two Indians Talking and the director said in the Q&A that she hopes for it to be put on DVD and shown in First Nations resource centers. Then there are those where the VIFF will be the furthest their film will get. That’s the nature of the beast in filmmaking and promoting. It’s always a case of chance and luck of how far it will go.
Another thing the VIFF did was that it had a special panel. With this being the 30th Year of the Festival, it had a look back to the early years of the Festival and also hosted a free forum about the future of film. I wasn’t there at the Forum but I’m sure there’s a lot of discussion. I myself believe the world of film faces a lot of challenges in the years and decades ahead. One is the future of creativity and taking film in new directions in what is essentially a bottom-line business. Film can allow for a lot of creative minds to express themselves but there’s this beast called ‘showbiz’ where the subject of movie marketability is inescapable. Whether creativity can be taken in new directions and possibly even change filmmaking, only time will tell. Another factor to take into consideration is the multitude of media sources one now has, including some that didn’t exist ten years ago. When the VIFF opened, film’s top rivals were television, VCR and the newly-created pay TV. Multiplexes were increasing but it was still possible for a single-screen cinema to hold its own. Today, we have digital cable with hundreds of channels at our fingertips. We have websites like Youtube and Netflix. We can watch a movie on our laptop or even on our cellphone. Multiplexes are now the mainstay for big screen cinemas and single screen cinemas nowadays have either succumbed, are now in the fight of their life, or have to have some backing from some film source or company. Some of you may already have read some of the current difficulties of running a cinema as noted in my Hollywood Theatre article. Just to give a heads up, there’s going to be a multiplex opening in the new shopping mall at the New Westtminster station: ten cinemas with a total of 1800 seats. A multiplex with samll per-screen theatres; another example of what’s happening with the movie business. Don’t get me wrong. There will be a future for film–there’s no doubt in my mind– but it has a bumpy road ahead.
This year, there were some changes in the venues with the Festival. The Granville 7 still remains the biggest venue for showing films but the Visa Screening Room is no longer Cinema 7 on the top floor. Instead it’s the Vogue Theatre. The Park Theatre is not one of the alternative theatres this year. The VanCity and Pacific Cinematheque are still being used for the Festival. Last year, the Festival opened with the screening of a Canadian film–Barney’s Version— with promotion of Telefilm Canada. This year they open with Pedro Almodovar’s The Skin I Live In, a film from Spain. Last year, they closed with the animated movie The Illusionist. This year, they close with the French film The Kid With A Bike.
In its thirtieth year, the Vancouver International Film Festival shows strong signs of growth. It may have a while before it joins the ranks of Sundance and Toronto but I’m sure it will continue to establish its own identity in the future. For more information about the Festival, go to the VIFF website.