Volver (B+ or 3/4 stars)
Penelope Cruz's mama 'returns' in 'Volver', a black comedy written & directed by Pedro Almodovar. Raimunda (Cruz) & Soledad (Lola Duenas) lost their mom in a fire 4 years ago. Their Aunt Paula still lives in the La Mancha village where the fire took place. But she's a stone's throw from death, and she claims that her sister, Irene (Carmen Maura), mom of the two sisters, is present in her house! A sickly neighbor, Agustina (Blanca Portillo), backs-up that people in the village may have heard/smelled/envisioned Irene, as well. When it isn't going off on subplot tangents, I find this quirky film to be authentically charming & well-acted.
Raimunda travels from Madrid with her daughter, Paula, to visit the cemetery of her parents. Because the East wind blows dirt on the graves, it's customary for the familial survivors to clean the stones regularly. Come from the grave, it appears that several deceased women from the La Manchan village return (Volver) to look after their breathing loved ones. One such dearly departed is the aforementioned Irene. Raimunda had a rocky history with her mother. But Sole (the only relative who initially sees Irene) is ecstatic to have her mom back. The sheer fact that she/anyone doesn't freak out that a visible ghost is among them is insane; but Almodovar allows us to suspend our disbelief & go with it for now.
There are subplots galore within 'Volver'. Raimunda's husband, Paco, suddenly goes missing. The big-to-do that keeps his whereabouts secret almost puts Raimunda and Paula in a grave, themselves. Soledad cuts hair for a living & has to pass-off her dead mother as a Russian to her inquisitive customers (yes, they can see her, too). Agustina becomes morbidly ill & divulges some painful revelations about/to Raimunda's family. She even resorts to going on 'trash TV' to reveal some pent-up secrets. Raimunda opens up an illegal restaurant for a while, etc, etc. The main thread of this all is that Irene is present in all of these women's lives to mend some bridges from her past. A lot of these subplots become a bit indulgent; subsequently making the movie a tad bit 'fluffy'.
That said, there's so much 'controlled' gossip, lying, cheating, fanfare, melodrama, laughing & crying, that you can't help but be moved and enjoy this film that blends genres of comedy, drama, mystery, and supernaturalism (all at the same time). That's an incredibly difficult feat to accomplish. Penelope Cruz is great here; Oscar nod is deserved. She's really evolved as a stellar actress (particularly in her native tongue). All of the female actresses here are great because they allow their wit & sense of "we're-every-woman" familiarity to permeate the screen. Another aspect of the film that is so great is its use of color. Not unlike Chocolat & Frida, the lurid colors lend perfectly to the mood of each & every scene.
The improbabilities within the plot are accepted because the foundation of the setting, characters, & storyline is so solidly authentic. The women are flawed, but endearing. And it takes the dearly departed to 'volver', right some wrongs, & rejuvenate the living. Not unlike Ya Ya Sisterhood or The Hours, this film is one that is made for women, but can be appreciated by men. The subplots enter midway through the film & set it off track for a while, making the sum of the movie stronger than some of its parts. It's not a cerebral movie, but one with a unique story that is told with utmost sensitivity & care. I'll take a good story over substandard re-makes, derivative special effects, & recycled superheroes any day.
Raimunda travels from Madrid with her daughter, Paula, to visit the cemetery of her parents. Because the East wind blows dirt on the graves, it's customary for the familial survivors to clean the stones regularly. Come from the grave, it appears that several deceased women from the La Manchan village return (Volver) to look after their breathing loved ones. One such dearly departed is the aforementioned Irene. Raimunda had a rocky history with her mother. But Sole (the only relative who initially sees Irene) is ecstatic to have her mom back. The sheer fact that she/anyone doesn't freak out that a visible ghost is among them is insane; but Almodovar allows us to suspend our disbelief & go with it for now.
There are subplots galore within 'Volver'. Raimunda's husband, Paco, suddenly goes missing. The big-to-do that keeps his whereabouts secret almost puts Raimunda and Paula in a grave, themselves. Soledad cuts hair for a living & has to pass-off her dead mother as a Russian to her inquisitive customers (yes, they can see her, too). Agustina becomes morbidly ill & divulges some painful revelations about/to Raimunda's family. She even resorts to going on 'trash TV' to reveal some pent-up secrets. Raimunda opens up an illegal restaurant for a while, etc, etc. The main thread of this all is that Irene is present in all of these women's lives to mend some bridges from her past. A lot of these subplots become a bit indulgent; subsequently making the movie a tad bit 'fluffy'.
That said, there's so much 'controlled' gossip, lying, cheating, fanfare, melodrama, laughing & crying, that you can't help but be moved and enjoy this film that blends genres of comedy, drama, mystery, and supernaturalism (all at the same time). That's an incredibly difficult feat to accomplish. Penelope Cruz is great here; Oscar nod is deserved. She's really evolved as a stellar actress (particularly in her native tongue). All of the female actresses here are great because they allow their wit & sense of "we're-every-woman" familiarity to permeate the screen. Another aspect of the film that is so great is its use of color. Not unlike Chocolat & Frida, the lurid colors lend perfectly to the mood of each & every scene.
The improbabilities within the plot are accepted because the foundation of the setting, characters, & storyline is so solidly authentic. The women are flawed, but endearing. And it takes the dearly departed to 'volver', right some wrongs, & rejuvenate the living. Not unlike Ya Ya Sisterhood or The Hours, this film is one that is made for women, but can be appreciated by men. The subplots enter midway through the film & set it off track for a while, making the sum of the movie stronger than some of its parts. It's not a cerebral movie, but one with a unique story that is told with utmost sensitivity & care. I'll take a good story over substandard re-makes, derivative special effects, & recycled superheroes any day.