Film Review — "Broken Embraces"

Pedro Almodovar's latest collaboration with his muse (Penelope Cruz) attempts to comment on the pressures that the process of filmmaking can have on the relationships of those involved, especially the director. As his "Bad Education" (2004) was an artful representation of his memories at a Catholic boarding school in 1960's Spain where some of his classmates experienced abuse by priests, "Broken Embraces" carries an autobiographical tone throughout the film and may be his most personal work to date.

Harry Caine is a blind writer who lost his sight and the love of his life in an accident fourteen years ago during the making of his last film. A former director, Harry now makes his living churning out stories and scripts with the help of his old production manager and friend Judit and her son Diego, who act as his secretary and assistant. When Judit is away for a weekend Diego is accidentally drugged, and so Harry is at his bedside when he finally recovers at the hospital, prompting curious Diego to ask Harry about his tumultuous past and queuing a flashback that fills the middle two-thirds of the film.

The accident changed everything for Harry, including his name, which was originally Mateo Blanco. Caine was just a pseudonym he had used for his extra-cinematic writings. The unknown Lena (Cruz) lands the lead part for his film because she happens to be the mistress of the aging producer Ernesto (José Luis Gomez) who, well-aware of Lena's attractive qualities and unable to put his insecurities to rest, enlists his son to make a 'documentary' of the production. Shortly thereafter, Mateo tries to save Lena from Ernesto's insatiable jealousy, but fate chooses an unexpected path for the lovers.

Almodovar writes his characters with a trademark sensuality and liveliness that knows no boundaries, which may be a continuing response to his upbringing during Franco's oppressive reign in Spain, and in this often hilarious film — despite some serious subject matter, we see those traits continue.

Some may misinterpret Almodovar as a maker of only 'serious art films' that require a degree to untangle their meaning, but in truth, one like "Broken Embraces" is a simple celebration of film's capability to bring people together, at least partially explaining his passion for the art form.

DVD Review — Funny People

Judd Apatow ("The 40-Year Old Virgin", "Knocked Up"), while sticking to his 'no boundaries' comedy shtick, has taken a brave leap into the realm of dramatic filmmaking with "Funny People," but it seems he has slipped a bit on his landing. In the dangerous world of 'tragicomedies,' plots can often stray from and even hamper with the integrity of the story's main purpose.

In this case Adam Sandler, in a role that seems to have been written specifically for him, represents famous comedian George Simmons who has everything and yet has nothing, especially when he learns of the cancer that will be ending his life sooner than expected. In an attempt to get back to what he really enjoys doing (stand-up) he realizes he doesn't have what it takes anymore, but is accosted by Ira (Seth Rogen), a young comic who's routine he sees promise in. Hiring Ira as his new writer, the two begin to spend a lot of time together as Simmons cannot bear to be alone anymore.

When the news of George's illness gets out his family makes an effort to reconnect, but their estrangement has been too long and it would prove too painful. At the same time, his old girlfriend Laura checks in on him, obviously still having feelings for him despite being happily married with two daughters. At this point (an hour into the film), the plot starts to veer unnecessarily off track into useless melodrama.

Clocking in at a total of 146 minutes, "Funny People" does not provide enough laughs or convincing drama to keep the viewer satisfied for that long (I'd cut out at least a half-hour), but perhaps we can give Mr. Apatow a break this time around. In his first real attempt to flesh out his lasting talents as a filmmaker (a two and a half hour-long comedy!?) he reveals what could amount to a realistic friendship. A common man willing to do anything for success and another seeking some semblance of true happiness before it's too late sounds corny, but in this iteration it thoroughly entertains. Through this transition they learn a lot about themselves, and with most satisfying characters in movies, that is really all you need.

A shaky start for sure, but we may yet see more polished work from Mr. Apatow in the future. Who knows? Woody Allen started off breaking boundaries of sensitivity in comedy and slowly became a master at his craft.

The Killer Inside Me

The eagerly awaited film adaptation of Jim Thompson's 1952 novel "The Killer Inside Me" that goes by the same name was screened at the Sundance Film Festival about a month ago in Park City, Utah and will most likely see a wide release later this year.

Directed by Michael Winterbottom ("Tristam Shandy: A Cock and Bull Story"), who seems to be staking some new thematic territory with this story of a soft-spoken, seemingly ignorant deputy sheriff in a small Texas town who's inner "sickness" is slowly bubbling to the surface, the film will certainly spark controversy in regards to film violence (especially against women) from such an unemotional character.

Indeed, there are already debates being had over an extended promotional trailer that was leaked to the web and specific scenes where the central character Lou Ford, played by Casey Affleck, subjects both his mistress (Jessica Alba) and fiancee (Kate Hudson) to serious beatings. Whether this debate will overshadow any critical praise the film receives in the coming year remains to be seen, but it is certainly worth tracking the film's festival circuit and the ensuing audience reactions.

It also remains to be seen how closely the film will follow the book, it's structure being that of first-person narration from Lou. He presents himself as an outsized intelligence casually roaming amongst a blissfully ignorant populace that has no idea a sociopath represents their local law enforcement. As a teenager, Lou sexually abused a young girl, but his elder brother Mike took the fall for him at the behest of their father who preferred to keep his more intelligent son out of jail. After his stint in prison, Mike is apparently murdered on the job by a construction baron and Lou plans to blackmail his son with Joyce, the prostitute he has begun a sadomasochistic relationship with.

However, Lou's long dormant violent nature explodes when he beats the baron's son to death and Joyce into a coma, leaving the scene to look like a passionate romance gone bad. From this point on, Lou is forced to kill in order to keep his secret from becoming public. Throughout the book, Lou is immensely unimpressed with the people around him and has dreamt of leaving for a more prosperous city, and in a sense he has taken on his recent killing spree as a means to freedom from this boredom.

Casey Affleck's role as Robert Ford in "The Assassination of Jesse James by the Coward Robert Ford" in 2007 seems like a warm-up and a good quality indicator for his performance as Lou Ford in 2010. The characters are from two completely different time periods and harbor two ends of the killer's spectrum, but both are hiding in plain sight. The role has the possibility of lifting Affleck's career to the next level.