Live Flesh (1997)
(Carne Trémula)
Country: SP/FR
Technical: col/scope 101m
Director: Pedro Almodóvar
Cast: Javier Bardem, Angela Molina, Francesca Neri, Liberto Rabal
Synopsis:
A man released from prison is still in love with his former girlfriend, but she is now married to the policeman he paralysed with a bullet from his gun.
Review:
It could be a classically convoluted Almodóvar melodrama, but the script is in fact based on a Ruth Rendell novel. Nevertheless, this not only showed the director very much at home in someone else's setup, but also how he could adapt it to fit his own preoccupations and predilections (cf. All about My Mother, The Skin I Live in). This mature picture held a new gravitas and signalled the director's entry into the third phase of his career, one characterised by smooth storytelling and elegant visuals.
(Carne Trémula)
Country: SP/FR
Technical: col/scope 101m
Director: Pedro Almodóvar
Cast: Javier Bardem, Angela Molina, Francesca Neri, Liberto Rabal
Synopsis:
A man released from prison is still in love with his former girlfriend, but she is now married to the policeman he paralysed with a bullet from his gun.
Review:
It could be a classically convoluted Almodóvar melodrama, but the script is in fact based on a Ruth Rendell novel. Nevertheless, this not only showed the director very much at home in someone else's setup, but also how he could adapt it to fit his own preoccupations and predilections (cf. All about My Mother, The Skin I Live in). This mature picture held a new gravitas and signalled the director's entry into the third phase of his career, one characterised by smooth storytelling and elegant visuals.
(Carne Trémula)
Country: SP/FR
Technical: col/scope 101m
Director: Pedro Almodóvar
Cast: Javier Bardem, Angela Molina, Francesca Neri, Liberto Rabal
Synopsis:
A man released from prison is still in love with his former girlfriend, but she is now married to the policeman he paralysed with a bullet from his gun.
Review:
It could be a classically convoluted Almodóvar melodrama, but the script is in fact based on a Ruth Rendell novel. Nevertheless, this not only showed the director very much at home in someone else's setup, but also how he could adapt it to fit his own preoccupations and predilections (cf. All about My Mother, The Skin I Live in). This mature picture held a new gravitas and signalled the director's entry into the third phase of his career, one characterised by smooth storytelling and elegant visuals.