Pedro
Almodovar’s 2010 release Broken Embraces might appeal to
people that like Eastenders or Coronation Street, could said people
be convinced to sit through a subtitled film. It recounts in anecdote
a romantic quartet, in which aspiring actress Penelope Cruz embarks
on an affair with film director Lluís Homar, to the displeasure of
both Cruz’s partner José Luis Gómez, and Homar’s editor and
friend Blanco Portillo, who has nursed a crush on Homar since ages
past. In it we discover the retribution that Gómez and Portillo
inflict on Cruz and Homar once each learns of the latter’s romantic
tangle, and the reasons for Homar’s present blindness.
Broken
Embraces is a beautiful film to look at. Director Almadovar
ensures throughout that, though his characters might be doing nothing
more compelling than sitting to tea, the film is sumptuous to see.
For one Almodovar has the contrast turned up just a tad, so that the
red of Cruz’s dress for example appears that much brighter, or the
blue of the ocean that much deeper. Furthermore Almodovar is fond of
filling his scenes with provocative paintings, so that an argument
between Cruz and Gomez for instance might occur against a backdrop of
revolvers, painted in outlines of red and black. It means if nothing
else that Broken Embraces is never dull to look at.
In
addition Broken Embraces has a lot of interesting observations to make
about our vulnerabilities. Homar for instance is blind and middle
aged in the present, but succeeds in seducing and bedding a beautiful
blond that helps him cross the street at the film’s opening. He
doesn’t give the encounter a second thought, but takes the attitude
that life is to be enjoyed. Portillo’s son in contrast is
responsible for Homar’s welfare and, though a man in his twenties
and more cautious than Homar, suffers an overdose after drinking coke
laced with GBH at a bar. It seems Almodovar is making the point that,
regardless of our individual strengths and weaknesses, trouble can
strike at random, so it’s best to take what pleasure we can from
life.
The
problem with Broken Embraces however is how receptive
Almodovar’s characters are to each other and perceived slights, as
though his planet were inhabited solely by introverts that’re quick
to hold a grudge. Near the beginning for example, Cruz learns that
her father’s doctor has cancelled the treatment that might stave
off his terminal cancer to go on vacation, and is understandably
upset. Seconds later when Cruz is called into Gomez’s office to
take down a memo, Gomez notices when Cruz sniffles, and insists on
her telling him about it. This’d be fine, except that Gomez’s
emotional well-being seems to depend on Cruz not being upset, and
that every character in the film reacts the same way.
In
other words normal adults, the kind that’re wrapped up in
themselves and don’t need to know that everyone else in the room is
alright to feel alright themselves, don’t exist. It means Broken
Embraces maintains an extreme emotional pitch that isn't quite
credible and, as I mentioned at the beginning, might appeal most of
all to people that like soap operas.
