Volver
translates as ‘to return’ or ‘to go back’. After the male-dominated
‘La Mala Education’, Pedro Almodovar, the most famous Spanish director
returns to some of his favourite themes for his 17th feature. Almodovar
returns to the subject of women, La Mancha and two of his muses, Penelope
Cruz and Carmen Maura. It tells the story of two sisters Raimunda
(Cruz) and Soledad (Lola Duenas) who after the loss of their aunt, start
seeing appearances of their deceased mother at the moment when their lives
become more complicated.
Raimunda is the head-strong
sister, married with one child to an unloving husband who has two jobs
to maintain a livelihood. Her husband though attempts to rape the
daughter and so the daughter kills him, this leads to hiding the truth.
Soledad is single and works a private hair salon at her home; her name
literally means solitude. They are chalk and cheese, upon their first
appearance at their parents grave they act more like friends which is explained
later on. Then the mother appears first to Soledad, and knowing that
there is some hidden resentment between the two hides her from Raimunda.
The mother is played by Maura in an unkempt appearance (‘No wonder I gave
you a fright.’)
Almodovar has always been
more successful writing for women and prefers to write for them.
He empowers them, makes them funny while keeping them vulnerable.
His themes of authorship is always of contemporary material focusing on
domestic plots on a par with soap operas but with a flamboyant edge.
Upon (finally) watching this I found the film to be the least flashy of
his films, in terms of colour and unusual editing and camerawork.
The only flash of excess is seen nearer Cruz’s chest which is lusted over
by Almodovar’s adoring camera-eye; at one point we have an overhead
shot of Cruz’s cleavage. Though these are mute points, there is a
useful juxtaposition of the city’s vibrancy and movement in contrast to
the village life’s stillness and drabness.
The reason he is so good
at writing for women, is that any man in this film disappears in one way
or another. One dies, one leaves for Barcelona and one who shares
some attraction with Raimunda leaves town with the film crew he arrived
in. The biggest collective of men at the aunt’s funeral are kept
in a separate room away from the more sympathetic women. Women are
there for women as a community of support; men are seen as the means to
an end and that end is marriage.
I believe Volver is a
strong film and return for Almodovar. I do not believe it to be a
return to form though as ‘La Mala Education’ was not a blip but again a
strong film after ‘Talk to Her’. Some critics upon its release remarked
upon its feel of familiarity and laziness, but I think after the change
of direction to a male led narrative, maybe he needed to return to a film
he knew he could not fail at. For Spanish audiences the opportunity
to see Almodovar/Cruz/Maura together is a dream come true and maybe that’s
how you should treat the film - a dream or god forbid, dressed up entertainment.
Jamie
Garwood
After an initial scene
at a cemetery, in which the two lead Sisters and a daughter dust the grave
of their Parents who died in a house fire, we seem to be set for a mild
domestic comedy/drama. When daughter Paula (Yohana Cobo) stabs and kills
husband Paco (Antonio de la Torre), the stakes should rise for Raimunda
(Penelope Cruz), but she's made of stronger stuff. She hides the body in
the freezer of a vacant restaurant, and opens the restaurant to provide
catering for a visiting film crew.
Raimunda, her sister Sole
(Lola Duenas), and Paula have come from Madrid to visit frail Aunt Paula
(Chus Lampreve) who Raimunda would have living with her, if her own husband
were not in the way. The cemetery they stop-off at en-route is crowded
with other women who are tending the graves of their husbands. The Aunt's
neighbour Augustine (Blanca Portillo) happens to arrive at the same time,
to clean her own grave: it is the local tradition to buy your plot, and
look after it while you are still alive. Spanish guitar then accompanies
the trio as they drive through dusty farmland to the Aunt's village. Aunt
Paula, who is “very shaky on her pins”, can hardly see, and asks if Raimunda
has had the baby yet - yes, fourteen years ago - can cook tasty wafers,
and has an exercise bike. When the three younger women leave they are loaded-up
with home-made cakes and preserves supplied by the Aunt. Visiting the neighbour,
we learn that Augustine's Mother disappeared on the day of the fire that
killed Raimunda's Parents three years ago and it hasn't been reported yet.
Raimunda washes-up at home as her husband watches the football and tells
her that he has just lost his job. As finances are tight Raimanda decides
she will have to work on her remaining free day.
Time passes. After shifts
cooking breakfast, washing, and cleaning, Raimanda gets off the bus in
the dark, to be met by Paula who has to report the incident with her Father.
On top of this we hear that the Ghost of Raimunda's Mother (Carmen Maura)
has been appearing, and turns-up in the boot of Sole's car.
Cinematography, costumes,
and settings give visuals of bright colours in subtle tones. It all flows
beautifully. We can laugh at the comedy that arises from absurd situations,
yet still engage emotionally with the Characters. But if there is a sequel,
one wonders how many of these people will still be around and how many
will have disappeared or died in suspicious circumstances.
Peter Tonks
