Stepping away from this week’s horror theme, I wanted to highlight another film that’s out in UK cinemas today, which is the latest by Pedro Almodóvar, a filmmaker who is getting older and has made a film about it. Maybe it’s me getting older — or maybe it’s Pedro — but I really warmed to his latest film far more than anything I’ve watched before by him (and I gave his films a few tries back in the 1990s in particular).
This is a fairly thinly-disguised self-portrait of the filmmaker as ageing man, dealing with the pains of growing up, and more particularly the pains of getting old, self-medicating (with heroin, but of course), and generally trying to come to terms with his own life and those around him drifting away and dying. It trades less on heightened melodrama but is given enormous gravitas by Banderas’s underplayed performance, finding all the right notes for this guy who’s rather at loose ends now that he can’t work due to chronic pain and depression. He still has a very precise eye for framing a shot, and the use of music is perfect, plus there’s no big event, just a sort of flow of moments in a man’s life. There’s levity and there’s self-reflexiveness (a scene with his mother telling him he better not be thinking about putting her in a film), there’s a bit of darkness, but mostly there’s light and colour (bold, saturated colours, of course), that I enjoyed spending time with.
Director/Writer Pedro Almodóvar; Cinematographer José Luis Alcaine; Starring Antonio Banderas, Penélope Cruz, Asier Etxeandia; Length 113 minutes.
Seen at Curzon Mayfair, London, Saturday 17 August 2019.
It feels like there are two distinct films within this relatively big-budget Chilean/Colombian co-production, based on the real-life mining disaster at Copiapó in 2010 in which 33 miners were trapped underground. One is a film of excellent cinematography in underground chambers, of fine acting by the ensemble cast, depicting the lives of ordinary people in an extraordinary situation. It does a really good job, in particular, of capturing these men’s weary lined faces as they assess their chances, and of their families above ground (mostly wives and children) hoping and praying for their survival. That’s a good film.
And then there’s the film as it’s scripted, replete with disaster clichés, spoken in heavily-accented English, and — perhaps suggesting some of the commercial focus of the filmmakers — even setting up a triumphal US involvement towards the end (though thankfully backing off from giving too great a value to that). This is the film in which the engineer played by Gabriel Byrne (of all people; mostly the cast are Latino) points at a 3D rendering of the mine overlaid with a graphic of the Empire State Building (two of them in fact) to represent the size of the obstacle. This film is not nearly as successful. People shake their heads (Byrne again) and say “we need to face the TRUTH dammit” while others (the Minister of Mining, played by Rodrigo Santoro) say “No I believe en mi corazón that they’re still alive, and now let me go listen to a touching old woman’s song” (yes, I’m paraphrasing obviously, but not much).
On balance, I think the good film wins out in the end, but only just. It’s beautifully filmed, and the tension is solidly crafted — it would be all but unbearable if we didn’t know the real-life outcome. Perhaps on reflection, it’s the cast speaking in English I object to the most, but there’s still plenty to like, and Banderas is a dependable linchpin for the unfolding drama.
Director Patricia Riggen; Writers Mikko Alanne, Craig Borten and Michael Thomas (based on the book Deep Down Dark by Héctor Tobar); Cinematographer Checco Varese; Starring Antonio Banderas, Lou Diamond Phillips, Rodrigo Santoro, Juliette Binoche, Gabriel Byrne; Length 127 minutes.
Seen at Cineworld West India Quay, London, Tuesday 2 February 2016.