Spanish auteur Pedro Almodóvar has always worshipped at the altar of the classic Hollywood melodrama. The earthly avatars of Bette Davis, Joan Crawford and Douglas Sirk have long watched over his art-house productions (Women on the Verge of a Nervous Breakdown, Tie Me Up! Tie Me Down!, High Heels, Kika, The Flower of My Secret, Live Flesh, All About My Mother). His latest effort, the self-referential movie industry meller Broken Embraces, is no exception. ... Except that it marks a minor turning point in Almodóvar’s career. This is Almodóvar at his most mature, his most serious. Gone are the drag queens, the sexy nuns and op-art wallpaper. There’s not a trace of camp in this cyclical, soap opera-heavy romance. And yet the film is still unmistakably Almodóvar, right down to the strong central performance by his longtime muse Penélope Cruz.
The story of Broken Embraces starts in the present, with our writer-director Harry Caine (veteran Spanish actor Lluís Homar) looking to kick-start his long-dormant career after nursing an unspecified, long-brewing heartache. Left in the care of his agent’s son (Tamar Novas), Harry starts spilling old secrets.
Cue the flashbacks. Fifteen years ago—more popular, less bald and fully sighted—Harry is preparing to work on his first comedy, the intriguingly titled Girls and Suitcases. Against the better judgments of his protective agent (Blanca Portillo from Volver), Harry hires unknown beauty Lena (Cruz). He is smitten with her, of course, but she’s the secretary-
Although Broken Embraces reads as one of Almodóvar’s more serious films, he’s still clearly having fun on screen.
Although Broken Embraces reads as one of Almodóvar’s more serious films (like 2002’s Talk to Her), he’s still clearly having fun on screen. When we finally start seeing glimpses of Harry’s long-lost masterpiece Girls and Suitcases, for example, the “joke” is apparent. The film-within-a-film looks like vintage Almodóvar, complete with candied color palette and madcap script.
It’s funny seeing Cruz in both Broken Embraces and Nine—two back-to-back film industry dramas in which she plays the sexy girlfriend of a struggling, womanizing filmmaker. Broken Embraces is clearly the better film. Whereas Nine is inconsequential, miscast and littered with forgettable songs, Broken Embraces is neatly lined with unabashed melodrama, lush camerawork and narrative suspense. The scattered story takes some time to come together, but like all Almodóvar films, it coalesces quite neatly. Almodóvar has always had a passion for filmmaking. With Broken Embraces, he’s finally found a way to combine love, art and love of art into one heady package.