Going to Pedro Almodóvar. Julieta

Pedro Almodóvar’s movies are always as good as taking a holiday. It revives the spirit. One leaves the cinema elated. What Hitchcock was for thrillers, Pedro is for passion and guilt. Julieta is again a film where familiar territory is sought by Pedro Almodóvar. The story is mainly filmed in glorious Madrid. A city for which the movie camera seemed to have been invented. It is not for nothing that even the New York City’s Woody Allen has filmed in Spain if not France as well. The lack of hoardings and ugly signage a bonus on its own.

From the very opening till the last I was taken. With padding the years on, I did not think I still had it ‘to be taken’ Cynicism seeks friendships in the old, and it can creep in. But, there you go. It is never too late. The poetry of images in this film doesn’t let up. The story of relationships, family and children and its insane pain and unavoidable losses along life’s wanderings is searing up front. But,it is the way the envelope of this film slowly opens its contents, that makes this film a work of art. Of course, the architecture of Madrid and all things Spanish, gives it the background. Without this it would just not work the same way.

The story involves a daughter deciding not to contact her mother again for many years. Grief stricken, the ageing mother comes to grips with this terrible loss. She seeks answers and as they begin to reveal themselves, she starts to understand the subtleties of where and how children grow up, move away. It is when the daughter too experiences a terrible loss, she seeks and understands the cruelty. Even loving people are capable of causing so much pain on each other. Why is that so?

A great movie.

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5 Responses to “Going to Pedro Almodóvar. Julieta”

  1. Happy Go lucky Says:

    Hope it comes here Gerard. Like your comments


  2. gerard oosterman Says:

    And here too is some nice poetry by LIFECAMEOS;

    The Little Pink Tricycle
    November 22, 2016 lifecameospoetry young children tricycle

    The little pink tricycle
    with its fat white wheels
    was given to Chloe
    when she started to walk.

    After Chloe turned four
    she rode the big tricycle
    …with pedals.
    Now Claire happily rushed
    the little pink tricycle
    up and down the drive.

    At four Claire tried riding
    the big tricycle – with pedals.
    It was slower than the pink tricycle.
    Her blue Christmas scooter
    was fast and fun to ride, but
    Claire still remembered
    good times with the pink
    tricycle, still rushed it
    up and down the drive.

    As time went on it was not such fun.
    At last Claire had to see that her knees
    would not fit under the handlebars.
    The little pink tricycle went slowly
    now her knees had to stay
    out to the sides.

    With some regret she now
    leaves it in the garage.


  3. shoreacres Says:

    I’m so provincial in some ways. I’d never heard of this filmmaker. Of course, I’m not much of a film-goer, either, so there’s that.

    Your review made me want to know more, so I did a bit of poking around The first surprise was that the film’s based on work by Alice Munro, whom I do know. The second surprise was that Almodóvar and I may have been in Madrid at the same time. I fell in love with Madrid, so he might well be a filmmaker for me. It was interesting to read that the change to a Spanish setting brought about the change in leading ladies.

    Thanks for a great review!

    Liked by 1 person

    • gerard oosterman Says:

      Yes, Linda. Helvi tells me that Alice’s Munro’s story was the vehicle on which Almodóvar based this film.

      He is very good and has this gift of seeing backgrounds that are just so beautiful.

      One scene he has Julieta looking through the window of the house of her fisherman lover who had just drowned. All you see is the back of her, and through the window the restless churning sea that took his life.

      Liked by 2 people

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