Death becomes her

15/8/06

Volver: Almodóvar’s fantastic new film, a darkly-comic tale of death in La Mancha.

In his latest film Volver acclaimed Spanish director Almodóvar changes landscape, taking a break from scandal–ridden urban tales of coke-snorting trannies and paedophile priests (Bad Education), HIV-infected pregnant nuns (All About My Mother), and sexually ambiguous men into necrophilia (Talk to Her).

He takes us out of the frenetic city and into the idyllic country - a place which can often be more frightening for some city-bred queens - for fleshy tale of life and death in his native region of La Mancha.

Despite the location change, most elements of a signature Almodóvar film remain intact (with the exception of gratuitous male nudity and gay sex). Volver is as darkly comic and surreal as ever.

He effortlessly combines humour, drama, mystery in a story about a dead mother who revisits the living to patch up old wounds…and have a bit of fun along the way.

Volver has a particularly visceral, yet subdued aesthetic – and is less flashy than his previous films.

Opening on a rural cemetery where elderly women furiously scrub, restore, and decorate tombstones, the film immediately establishes the central theme of death and of the influence the dead have on the living. The dead don’t die, and according to rampant superstitions – sometimes they walk among us.

But Volver is no ghost story - and far from morbid. Volver, essentially, is a film about the family; and it this case, a family of women.

One of Almodóvar’s greatest talent seems to be his ability evoke real appreciation and celebration of women, despite their innate complexities. His characters can commit murder – yet we will still identify with them and appreciate their humanity.

Leading an ensemble of perfectly-cast, well-groomed actresses is the ravishing Penelope Cruz, who stars as the soulful young mother Raimunda, giving the performance of her career.

Some seem quick to criticise her. Perhaps the atrocious film Captain Correlli’s Mandolin can be blamed, but with Volver she redeems herself entirely. We even forgive her for that ridiculous affair with Tom Crazy. And as a spectator, you can really sense an intimate relationship with her director.

Almodóvar, himself, admits fascination with the actress. He explains, “Penelope is at the height of her beauty. It’s a cliché but in her case it’s true. Those eyes, her neck, her shoulders, her breasts! Penelope has got one of the most spectacular cleavages in world cinema.”

Indeed she does. And she has fantastic energy- and an intuitive vulnerability. In one scene, she scrambles around town collecting food to feed her restaurant, and the image of her: struggling, stressing, sweating – is utterly sexy. Not many can pull off that look. Volver is worth seeing - if just to watch Penelope Cruz.

Although Volver may represent one of Almodóvar’s more conventional works, it is, nonetheless, an entirely gratifying piece and perhaps hits a bit closer to home for the audacious director. With summer cinema full of brainless blockbusters it would be a mistake to miss it.

Volver opens nationwide on August 25th.

Click here to watch the trailer