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The portrayal of child abuse is disconcertingly benign. They were harshly split by Father Manolo, who coveted Enrique for himself. Then, in an extended flashback within the fictional tale (yes, it's complicated) we learn of the two boys, Ignacio and Enrique, who fell in love with each other at the local cinema. The next morning, accompanied by his sidekick, drag queen Paquito/Paca (the very funny Javier Camara), he goes back to his old boarding school to confront the priest, Father Manolo (Daniel Gimenez-Cacho). The Visit, is told by a transvestite stage performer and writer who goes by the name Zahara, played by Ignacio, in a blond wig, heels and a gown designed by Jean Paul Gaultier that must be guilty of some crime: The form-fitting beaded sheath comes with sewn-on nipples and a pubic patch.Īfter a cabaret show, Zahara seduces a drunken patron with a plan to rob him, but discovers, when rifling through the man's wallet, that he has just seduced his old boarding-school flame, now married. In a melting transition shot, the printed page fades into the front of a dilapidated old cinema as Angel/Ignacio's story begins.
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It's inspired by an incident from their boyhoods. He's an actor looking for work and he has a story that he'd like turned into a screenplay. The visitor says he's Ignacio, an old friend from boarding school and, as it turns out, Enrique's first schoolboy love.
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In Almodovar's version, Enrique, a young filmmaker (Fele Martinez), is working in his office, reading tabloids looking desperately for a story to tell when a good-looking stranger (Gael Garcia Bernal) unexpectedly drops in. In classic detective fiction, the private dick is sitting in his office when a cool blonde walks in with a hot case. The film has the essential can't-win fatalism of film noir, and even a femme fatale (in this case a transvestite in a blond wig). More accurately,īad Education feels more like a film vermilion, with hot colours popping out of every frame, often in a jigsaw combination of geometric shapes. The dramatic form Almodovar has chosen in his tale about the long reach of the past is film noir. The historical background seems less about content than framing.īad Education is elusive, a shape-shifting film with a rogue's gallery of characters who are impostors, betrayers and predators, all led by a director within the film who may be the biggest fraud of them all. How deeply Almodovar cares about these issues is less clear. The historical and political meanings are forthright: Here's a story about a pedophile priest protected by his church, part of the legacy of denial and secrecy from Franco's totalitarian state. Critics who have hailedīad Education as a masterwork are moved by the film's apparent political commentary as much as its Even when the plots of sexual confusions, transgression and tragedy became absurdly complicated and arbitrary, there was always theīad Education, is, depending on your sympathies, either an inspired synthesis of all he has done before or a retreat into skillful but familiar mid-career mannerism. Talk to Her, his films are set-designed to the teeth, fastidiously framed and filled with beautiful bodies across the gender spectrum. Whether the earlier comedies or the more recent melodramas, including his two most recent hits, Since he emerged as a force in international cinema in the 1980s, Spain's Pedro Almodovar has been synonymous with irrepressibly inventive, colour-saturated excess.
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Bad Education Directed and written by Pedro Almodovar Starring Gael Garcia Bernal, Fele Martinez and Daniel Gimenez-Cacho Classification: 18A Rating: * * *