Volver (2006)

It's when you stumble out of the cinema and dive into the nearest coffee shop to greet the assistant in a language you only use on holiday that the power of this movie becomes evident. This is incredibly powerful stuff...and done in a way only Pedro Almodovar knows how. Cruz is absolutely magnificent in a finely nuanced performance. This an incredible mix of gritty realism and absolute fantasy. The dialogue is clipped and aggressive....wonderful...none of that Hollywood psychobabble and truly down to earth. This is a film about the lives of people who won't see it, if they even get an opportunity...subtitled films are the preserve of the chattering classes right? How many independent cinemas are to be found in working class areas? Can't see this being shown at the local flea pit ...a real shame really, it's a must see for all.

Fmovies: I saw this film yesterday and it got me thinking well after I had left the cinema. It made me cry and it made me laugh. It is a choral film where women (as usual with Almodóvar) have the upper hand. I'm not a big fan of Penélope but I must admit she's really up to scratch this time. She has clearly fed on Sofia Loren to come up with the very credible character of Raimunda: tight skirts, high heels and generous cleavage. Carmen Maura and Lola Dueñas are simply magnificent. Also Chus Lampreave as Tía Paula (even in a too-short appearance inspired in Almodóvar's mother) is superb. Almodóvar himself has admitted that this is one of his most personal films, set in his home region of La Mancha and full of memories of his own childhood. Great music too. The moment of the tango ("Volver" by C. Gardel) turned into flamenco really makes you break in goose pimples. However, it is not Penélope's voice, but flamenco-star Estrella Morente's. If you like Almodóvar, you will certainly like this film.

I now can say I have seen a Pedro Almodóvar film in the theatre. Sure I saw five of the eight films included in ¡Viva Pedro!, but those were DVD projections, while Volver was the real thing (as evidenced by it catching fire causing the six or so of us watching to wait a bit before seeing the final twenty minutes). I will admit, while enjoying Pedro's lighter, earlier fare, it is the dramatic and dark films I really have an affinity for. Carne trémula and Hable con ella are brilliant movies that left an indelible mark on me once they concluded. Volver has moments of true emotional resonance, but there is a bit too much playfulness and an inconsistent tone that prevented it from being the masterpiece most critics are calling it, for me at least. I was captivated by the performances and the seemingly slight storyline, trying to figure out where it was going. However, a lot goes on that, while pulling a Usual Suspects twist, really is a series of McGuffins. Like that movie did for me, Volver proves that a great 180-degree flip at the end does not make a great film out of the hour and a half before it. Pedro definitely had something here, and while a very good film, just didn't quite seem to know how serious to take it.

Even if the film was utter crap, I would still have given it a good rating based on the phenomenal performance from Penélope Cruz. She has always been panned as an English- speaking actress, yet hailed as one of the best when in her native language. It's true—I have not seen a really great role from her in English, (Vanilla Sky was good, but knowing that she was in the Spanish original, I have to hold judgment until seeing Abre los ojos), and the foreign movies I've seen with her showed a more confident skilled professional. Both times seeing Cruz in her natural element were in Pedro films, but unlike Carne trémula and Todo sobre mi madre, where she played somewhat shy women, relying on her friends, here in Volver, she has an almost sexual awakening from those previous roles. One could say that this film is a vehicle for Cruz's gorgeous figure as much as the story being told. She is simply beautiful throughout, and it's that beauty and self-assuredness that makes the touching moments of poignancy that much more effective. She goes through all emotions here, and I believe if Pedro allowed the film to stay true to the dramatic elements rather than playing some serious moments as comedic, her performance would have been elevated even higher.

The supporting characters all do great work as well. Lola Dueñas is great as the sister whose secret knowledge of their mother's return from the afterlife constantly keeps her on her toes. The facial expressions are priceless when trying to keep her stories straight with her sister and hairstyle customers. With her role here and in the fantastic Mar adentro, (coincidentally directed by Alejandro Amenábar who did the aforementioned Abre los ojos), I really hope more of the hugely successful Spanish directors today utilize her immense talents. As for the ghost of a mother, Carmen Maura, Pedro's old muse, returns in front of his camera. She plays the part perfectly where you can never quite see if she is a ghost or really there. Her comedic timing is precisely on the mark each instance needed, but again I feel it could have been better used in a different film. I also must mention Chus Lampreave with her distinctive voice and delivery, shining again in a small role. Almost every Pedro film I've seen has had her involved.

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Volver fmovies. EPIC COMEDY If we get to forget the delirious and delicious comedy side of the film, we find an epic story of what the second half of the past century was for so many women in Spain. Moving from the town to the city(from La Mancha to Madrid, from great patio houses full of architectural wisdom to terrific social housing apartments in the suburbs of the city), fighting against the elements(fire that burns down like love, wind that drives you crazy, water that used to fill our rivers and now is gone), having bad luck with men as the only possible fate, exercising companionship, imagination, tenderness and shrewdness as their only weapons for surviving. Keeping dignity untouched inside them.

ACTRESSES Pedro Almodovar in this film is like a top ten chef reinventing the most popular dishes of his own culture! The movie is a tasting menu of the greatest playing actresses with the best possible direction. The wild instinct of Penelope to construct a suburban animal, with strong links to Italian mommas, the touching interpretation of Blanca Portillo, simply mind blowing, the master lesson from Chus Lampreave that fills the theater with rivers of affection, the young actress Yohana Cobo that achieves success in some of the most difficult takes in the film, and Lola Dueñas that gets the plainest part and gives it a huge dimension with high level performance for comedy. And Carmen Maura, that stars the story like a Japanese terror movie star, she is like the Obi-Wan Kenobi of La Mancha.

DENSITY AND GRATITUDE So we have an epic story, great actresses, and a refined comedy that fills the spectator with gratitude, at least that is my case. I just have no defense in front of a film like this, that tells me a great story, makes me laugh, and has the highest detail density in objects colors, comments, views, gestures, references, movements and subplots. That is probably the only trouble with it, more than one view is necessary to catch it all, if possible!

This is simple story about 3 generations of women: the grandmother Irene(Carmen Maura), her daughters Raimunda (Penélope Cruz)and Sole (Lola Dueñas) and her granddaughter Paula(Yohana Cobo). It takes place mainly in Madrid, in a neighbourhood where various ethnic groups and people from the different provinces of Spain live, people who went to Madrid looking for a better tomorrow. Raimunda, Sole and Paula have to go back to their home town to praise the dead and meet one of their aunts, Tia Paula (Chus Lampreave). Soon the old aunt dies and unleashes a serious of mysterious events, their dead mother re-appears to settle some unresolved issues with her daughters and with her neighbour, Augustina (Blanca Portillo), revealing a past until then unknown. This is movie about the Spanish culture, homesickness, the culture of the death and the struggle of 4 women with strong character and strong personality traits to survive wind, fire and death. It is extremely well produced and has great photography as well as an unmatchable soundtrack. It is a very nice movie, filled with laughter and emotions and with a beautiful simplicity . If you are waiting for a Hollywood romance, a Hollywood comedy or a twisting complex plot, this might not be what you are looking for.

'Volver' starts at a cemetery where the women are cleaning the graves on a windy day. Young mother Raimunda (Cruz), who after attending her mother's grave, finds herself widowed, thanks to her daughter. Her sister, Sole (Lola Duenas) sees a ghost of her dead mother and their battling-with-cancer friend Augustina is in search of her own truth about her mother. Almodovar's colourful canvas is a wonderful portrait of women in Spain. Though it is a colourful portrait, it's dark but somewhat humorous and appealing. Almodovar tells the story in a sensible but somewhat simpler tone. There are some shocking revelations but 'Volver' does not dwell on any one particular incident. It's the story of the women.

Penelope Cruz gives one of her finest performances. It's been evident in her recent film choices (that also include 'Bandidas' that she's experimenting with different roles. As Raimunda, she speaks her mind, she's energetic, she's brave and a risk taker but at the same time she's vulnerable and is hiding a dark 'shameful' secret. Lola Duenas's Sole is a loner (but she loves her sister and niece). She's independent and satisfied with her life. The actress does nothing short of a great job. Carmen Maura is equally great as the 'ghost' bringing lots of laughter but even during Irene's own vulnerable sad moments she is outstanding. Portillo's Agustina, is a quieter lonely character who loves the sisters. The actress skillfully underplays her part and her immense talent is especially evident in the darkly humorous and somewhat sad talk-show scene. Like Almodovar's 'Todo Sobre Mi Madre', 'Volver' is about distinctive female characters and the viewer loves these women and feel involved in their stories.

Like most Almodovar's films, the soundtrack is part of the narration that adds to his slightly weird chaotic world. Similarly, Iglesias's score brings out the richness of the atmosphere created by the wonderful cinematography (thanks to excellent photography). The Spanish streets, the vivacious culture is just presented in Almodovar's unique style.

'Volver' is witty, warm, funny, colourful, disturbing, uplifting and lightly dark with a well told story and lovable characters portrayed wonderfully by the actresses.