Sergio Pedro
Modern Languages & Literatures (Spanish)
[email protected]
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The Film Itself
-the artists
-the film’s reception
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Spain
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The Film as Art
-Linguistic Determinism, identity & borders
-Spanish history—a divided Spain
-Almodóvar & Spain
-drama & parody
-gender roles, symbolism
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· La corte de Faraón (1985) as Fray José
· Réquiem por un campesino español (1985)
as Paco
· Los zancos (1984) as Alberto
· Fragmentos de interior (1984) TV Series as
Joaquín
· El señor Galíndez (1984) as Eduardo
· El caso Almería (1984)
· Laberinto de pasiones (Labyrinth of
Passion) (1982) as Sadec
· Pestañas postizas (1982) as Antonio Juan
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· La Mujer de tu vida: La mujer feliz (1988)
(TV) as Antonio
· Así como habían sido (1987) as Damián
· La ley del deseo (Law of Desire) (1987) as
Antonio Benítez
· Delirios de amor (1986)
· 27 horas (1986) as Rafa
· Puzzle (1986)
· Matador (1986) as Ángel
· Caso cerrado (1985) as Preso
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· El Acto (1989) as Carlos
· Huesta Luego Tenis (1989) as Jake Spicer
· La Blanca Paloma (1989) as Mario
· Si te dicen que caí (If They Tell You I Fell)
(1989) as Marcos
· Bajarse al moro (1989) as Alberto
· Bâton Rouge (1988) as Antonio
· El placer de matar (The Pleasure of Killing)
(1988) as Luis
· Mujeres al borde de un ataque de nervios
(Women on the Verge…)
1970’s
Los ojos vendados (Carlos Saura)
1980’s
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Folle... folle... fólleme Tim! (Pedro Almodóvar)
Pepi, Luci, Bom (Pedro Almodóvar)
Dark Habits (Pedro Almodóvar).
What Have I Done to Deserve This? (Pedro
Almodóvar).
Matador (Pe
Women on the Verge… (Pedro Almodóvar).
Bâton Rouge (Rafael Moleón).
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¡Ay, Carmela! (Carlos Saura). (Goya
Award).
How to Be a Woman and Not Die in the
Attempt (Ana Belén).
 Sombras en una batalla (Mario Camus).
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(Goya Award Nominated).
 Amores que matan (Juan Manuel
Chumilla).
 Lisboa (Antonio Hernández).
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La comunidad (Alex de la Iglesia)(Goya
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Entre vivir y soñar (David Albacente and
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Award)
Alfonso Menkes)
Free Zone (Amos Gitai). With Natalie
Portman.
Volver (Pedro Almodóvar)
El menor de los males (Antonio
Hernández)
The Garden of Eden (John Irvin)
Tetro (Francis Ford Coppola)
Script
&
Direction
 Small
town boy, born
in1949 in La Mancha,
Spain
 “Educated”
by the catholic church in
the 1950’s (Bad Education)
 Experiments
with film in
the mid1970s (La Movida
alternative film movement)
 Artistic
influences include Alfred
Hitchcock, Andy Warhol, John Waters
& Douglas Sirk
· Los abrazos rotos (2009) "Broken
Embraces“/"Broken Hugs"
 · La concejala antropófaga (2009) "The
Cannibalistic Councilor"
 · Volver (2006) "To Return"
 · La mala educación (2004) "Bad
Education"
 · Hable con ella (2002) "Talk to Her"
 · Todo sobre mi madre (1999) "All
About My Mother" –wins OSCAR
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· Carne trémula (1997) "Live Flesh" /
"Trembling Flesh"
 · La flor de mi secreto (1995) "The
Flower of My Secret"
 · Kika (1993)
 · Tacones lejanos (1991) "High Heels"
 · ¡Átame! (1990) "Tie Me Up! Tie Me
Down!"
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Mujeres al borde de un ataque de nervios
(1988)
-"Women on the Verge of a Nervous
Breakdown"
La ley del deseo (1987) "Law of Desire"
Matador (1986)
¿Qué he hecho yo para merecer esto!!
(1984) "What Have I Done to Deserve This?“
Entre tinieblas (1983)
Laberinto de pasiones (1982) "Labyrinth of
Passion”
Pepi, Luci, Bom y otras chicas del montón
(1980)
-"Pepi, Luci, Bom and Other Girls Like Mom"
Academy Awards, USA
1989 Nominated Oscar Best Foreign
Language Film
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BAFTA Awards (British Academy)
1990 Nominated Best Film not in the
English Language
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Golden Globe Awards (USA)
◦ Nominated: Best Foreign Language
Film
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David di Donatello Awards (Italy)
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European Film Awards
◦ Won: Best Foreign Direction (Pedro
Almodóvar)
◦ Won: Best Actress – Leading Role (Carmen
Maura)
◦ Won: Best Young Film (Pedro Almodóvar)
◦ Nominated: Best Art Direction (Félix
Murcia)
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Goya Awards (Spain)
Won: Best Actress – Leading Role (Carmen
Maura)
Won: Best Actress – Supporting Role (María
Barranco as Candela)
Won: Best Editing (José Salcedo)
Won: Best Film
Won: Best Screenplay - Original (Pedro
Almodóvar)
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National Board of Review (USA)
◦ Won: Best Foreign Language Film
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New York Film Critics (USA)
◦ Won: Best Foreign Language Film
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Venice Film Festival (Italy)
◦ Won: Golden Osella – Best Screenplay
(Pedro Almodóvar)
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Linguistic Relativism (one version)
Each language draws a magic circle
around the people to whom it
belongs, a circle from which there is
no escape save by escaping from it
into another.
(Wilhelm von Humboldt)
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“Reconquest” (711-1492)
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Map of Medieval Spain
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Spanish Inquisition (1484 +)
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Torquemada
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Carlistas & Republicans
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Carlista Banner
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Spanish Civil War
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Civil War
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Post – Franco Spain
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Franco
 Poor
reception among Spanish
conservatives
-Subversion of (sexual) identity
-Parody of Christian (usually
Catholic) ideas
 Some
left
poor reception from the
-“frivolous” themes, politically not
committed (70’s & 80’s)
-falls prey to “imperialistic” (AND
non-Spanish) American influence
 More
poor reception from the left
criticism from Spain’s gay movement
“obsessive concern with the fluidity of
genders, the interchangeability of
sexual tastes and orientations”
(Stephen Marsh, U.S.C.)
“Almodóvar has gone out of
his way to disavow the
suggestion that he is a gay
filmmaker (rather than a
filmmaker who just happens
to be gay)”
(Stephen Marsh)
 His
Positive Reception
-His American influences do not hail
from commercial Hollywood, but
rather from underground &
alternative currents.
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-His influences do include Spanish
filmmakers. He has verbally
acknowledged a few of these:
Edgar Neville, Miguel Mihura, Enrique
Jardiel Poncela, Luis Buñuel, Federico
Fellini, Luis García Berlanga and
Fernando Fernán Gómez
 Archetypal
images
(distressed woman, Don Juan, the
virgin)
 Use of color
 The telephone & the note as
symbols: distance, of noncommunication
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-Intertextuality with Johnny Guitar (Spanish
dubbing work of Pepa & Iván)
The transformation of Pepa
Empowerment—scene at the end of the film
(the UN-end)
-The parody Parody as Subversion of traditional
images (gender & otherwise)
 Parody as exaggeration
 Parody as plasticity—theatricality as
emotional barrier (First dream image,
last song “Teatro, lo tuyo es puro
teatro”)
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 Critics
have said that Almodóvar
defies discourse
..connection to language, thought,
& the significance of artistic
mediums
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Is it important that Almodóvar is Spanish? Is
there something here that does not “translate”
for an American audience?
What is gender? How is it important for the film?
How is parody manifested in the film? What tricks
does Almodóvar use?
Why doesn’t the emotional impact carry its full
weight for the audience?
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Mujeres al borde de un ataque de nervios