Career Of Pedro Almodovar Film Studies Essay

Career Of Pedro Almodovar Film Studies Essay Pedro Almodovar is undeniably one of the great film auteur’s of our age, having defined decade’s worth of Spanish national cinema. As stated by Isabel Cadalso â€Å"By the time Franco’s death released Spain’s seething subculture, Almodovar was at the centre of it.† (Cadalso)His combination of witty, flamboyant and daring scripts, brilliant performative actors and the vibrant setting of Spanish culture in Madrid always manage provide an in depth insight into the turbulent lives of his characters. â€Å"Madrid has figured prominently in Pedro Almodovar’s cinema, gradually coming into focus as the implicit protagonist of nearly every work. In these films, the city is regularly images as a cultural force, producing forms of expression and action that challenge traditional values by tearing down and rebuilding the moral institutions of Spanish life: the family, the church and the law.† (D’Lugo)There are always many layers to Almodov ar’s films, particularly in the setting and social context, usually being Madrid. Throughout his career we can see how they have developed with the changing political climate of Spain as well as his maturing age, with his films being particularly different from the 80’s to the 90’s and onwards. Madrid is a metaphorical subtext in his films in many different ways, be it relating to characters, situations they are in or the political climate. As stated in A Punk called Pedro â€Å"Madrid functions as a ‘character’, breaking down boundaries between the public and the private arenas. Madrid provides a framework for the new interactions between social behaviours and ‘becomes the site of a radical series of social desires.† (Toribio) Madrid is a place for Almodovar’s character’s where â€Å"They are able to seek kindred spirits in an atmosphere that†¦ is socially liberating and the impetus for new artistic creativity.† (Toribio) As the city it changes, adapts and explains much of the action that is not in Almodovar’s films. Early in Almodovar’s career, he directed two fantastic, yet very different films; Labyrinth of Passion and Matador. These films were both critically acclaimed and duly noted for their vibrant display of Madrid as setting and as a representation of the new Spanish culture. As written in Pedro Almodovar: A Spanish Perspective during the 1980’s†Spain was experiencing a fascinating period of giddy and radical changes. It was a country thousands of miles away from the distorted portrait Franco had shown to the rest of the world, a portrait that fit only within the hypocritical moral values of a dictatorship.† (Cadalso)It was during this period that Almodovar thrived and these two films were made. â€Å"Madrid is the realistic, almost unaltered decor in which Pepi, Luci, Bom and Labyrinth of Passion were filmed and in which the characters could mo ve more freely, reflecting the experience of a generation of Spaniards, like Almodovar himself, who could only quench their thirst for creativity in the large urban areas: cityscapes in these early films tend to emphasize the concept of physical movement and social mobility underscored the very word, Movida, ‘movement.'† (Toribio) We can see in Labyrinth of Passion the colourful new wave of Spanish culture, so vibrant and different to anything previously known to Spain. A prime example of this is in El Rastro a Sunday street market of Madrid, which â€Å"was an important showcase for all subcultures, but significantly for the movida, because of its unsanctioned and vaguely transgressive status. It was used as a meeting place and some stalls displayed their fanzines, records of emergent punk groups etc. For this reason it is an apt setting for Labyrinth of Passion (1982), especially the opening scene where it becomes Sexilia’s ‘shopping area’ for sex partners.† (Toribio)We see the completely different society to that of what we would have seen under the Francoist regime, there is liberty and freedom, life and passion, which had not been experienced before, culminating in a paradise of difference. As kinder states â€Å"The tortuously complex plot follows the tangled passions of an ensemble of young Madrilà ¨nes trying to escape the crippling influences of repressive fathers in order to pursue their own pleasure.† (Kinder) The subtext of Madrid is telling us how â€Å"†¦The Castilian director unfolded his passions amid a society that had just started to enjoy its own freedom. His uncontrolled and colourful films found a receptive audience in a population that was eager for spontaneity and light, for new stimuli that could again bring joy to the living. The Mediterranean spirit of freedom had been squeezed for four decades, and suddenly there was Almodovar, who dared to show on screen all the passion that previ ously had been politically impossible for Spanish society or its arts to express.† (Cadalso)We see as Sexilia moves through the city how there are many kindred spirits reciprocating the feeling and the buzz, yet there are also occasionally â€Å"non-movida city people, dressed in drab colours and expressionless, provide a background against which Sexilia, in her colourful attire, is distanced from the Spain they conjure up.† (Toribio)This heightens her difference from traditional Spain and the old regime. â€Å"In hiding the city’s shortcomings Almodovar was able to reveal the mood of the country once more as it progressed through the initial euphoria of democracy into disenchantment.† (Toribio) This shows how Maria fits into the Madrid setting and population easily with the new mentality and expressionism present in the place and her peers.