BROKEN EMBRACES - DVD review

There is more obsession than anything else in "Broken Embraces," a Spanish film released theatrically between March and December 2009 throughout the world and in March 2010 on DVD by Sony Pictures Classics. Sure, some love, power, jealousy and identity issues work their way into the mix, but I noticed more attention paid to obsession, and how it can blind anyone from his or her surroundings, than any other theme or plot element.

This emphasis shouldn't come as a shock to anyone familiar with director Pedro Almodovar's work. Among the most prolific Spanish directors in the past half century, Almodovar has an extensive filmography that hits on many themes consistently, obsession being just one among them. His work looks, often critically, at how the human persona is adjusted by those who operate it to get exactly what they desire without consideration for reactions or consequences that may occur as a result. Sometimes edgy, Almodovar's work is consistently great looking and dynamic, and "Broken Embraces" only continues this trend.

Almodovar has rarely released a film that has not been up for some award, be it a Cesar, Goya, Golden Globe, BAFTA or Oscar. In addition to directing, he also writes screenplays and oversees other elements, including set design, art direction and cinematography. "Broken Embraces" was nominated for both a Satellite Award and Golden Globe as Best Foreign Language Film. It also was in the running for the Palme d'Or at the annual Cannes Film Festival. I imagine this high regard and acclaim is just as much for its director as for the film itself, but at any rate, this is a special experience to be had.

Beginning in 2008, viewers meet an older, blind gentleman named Harry Caine (Lluis Homar) who lives alone and is aided daily by his agent Judit (Blanca Portillo) and her son Diego (Tamar Novas). Harry's passion and obsession is film; he still writes scripts and occasionally produces despite his inability to actually view his final products. Harry is alone more often than not, and one day learns that the wealthy businessman Ernesto Martel (Jose Luis Gomez) has died. His agent expresses concern, but Harry's reaction is indifference.

His demeanor changes when a man named Ray X (Ruben Ochandiano) shows up at his apartment one day, asking him to help make a semi-biographical film. Something doesn't sit right with Harry, and although Judit is away on business, Diego steps in to end the conversation. Some casual sleuthing helps the pair decipher that Ray X is Ernesto Martel, Jr., a young filmmaker seeking closure for his father's recent death. After Harry comes to Diego's aid in a local hospital (Diego suffered an accidental drug overdose), the two spend time together during Judit's absence and Harry details his life from near 20 years ago to pass the time.

Things shift to the early 1990s, where beautiful woman named Magdalena Rivas (Penelope Cruz), also known as Lena, appears troubled after hearing that her father is dying from cancer. She asks her boss, Ernesto Martel, for time off to see him, and later that night seeks some work as a prostitute. To her surprise, her boss calls for her services, and horrified, she hangs up. With no one else to turn to for money, Lena becomes romantically involved with Ernesto to help defray medical costs for her father.

Around the same time, Harry Caine is working on a big film called "Chicas y Maletas" using his real name, Mateo Blanco. Mateo only uses Harry when he signs literary works, stories and scripts. He needs a lead actress, and Lena, now Ernesto's mistress, wants to try out for the role and follow her acting dreams. Mateo is immediately drawn to her beauty and demeanor, and Lena gets the part.

The film's pace drastically changes at this point, as work on "Chicas y Maletas" kicks into high gear. Ernesto agrees to produce the film, mainly so he can have his son, Ernesto, Jr., keep a camera around and follow Lena, shooting her every move. The second half of "Broken Embraces" follows Lena and Mateo as they begin a passionate sexual affair, which leads to their leaving the area and to Ernesto releasing Mateo's work in poor quality to tempt the lovers back for a confrontation.

There are more than a few plot twists and unique angels taken during "Broken Embraces," including many I didn't anticipate. It makes for a convincing and tense atmosphere, especially as Ernesto's obsession with Lena turns violent and his controlling nature toward Judit and those working on "Chicas y Maletas" strengthens. Lena's obsession is a bit of her personal neediness and a bit of her desire to be famous, while Mateo/Harry's obsession begins as film, shifts to love and ends in tragedy. The only closure provided in "Broken Embraces" is that everything comes out by the time it is over, including the chance for Harry to reclaim his comfort and identity as a filmmaker, thus reclaiming his real name, Mateo.

Visually, this is a delightful film to watch and take in. The camera work is unconventional yet appealing, the lighting is traditional but refreshing and the costumes and sets appear flawlessly chosen and placed. It all works and flows without a hitch, likely thanks to the vivid coloration Almodovar implemented at multiple instances. The man considers film to be much more than entertainment; to him, it is art that communicates meaning, messages and themes.

There isn't a weak performance in "Broken Embraces," either. Cruz is masterful as the female lead. She steals most scenes she is in with her natural girl next-door persona, and relies on her off the cuff chemistry that she can generate with almost anyone to propel her character forward. Homar is convincing as an expert director, but manages to incorporate some charm and charisma throughout. He is multi-dimensional, being an artist, a director and a lover. His willingness to give up one obsession (filmmaking) for another (Cruz's character) speaks to this. Gomez is superb as the guy who essentially blackmails the woman he loves. His helplessness and desperation are brought to life through his obsession with Lena, and Gomez projects a cunningly cold personality that cares only about how his affairs go.

Very little exists to dislike here, but the first half is rather slow. Thankfully, Almodovar more than makes up for this in the second half, and has his cast and crew to thank. The story is told in segments that skip back and forth between decades, so if you will miss a moment or two, hit your stop or pause button. Additionally, "Broken Embraces" needs to be watched from beginning to end. Watching some and then coming back to it the next day will only confuse you.

Well-crafted and well executed, this looks like another feather that director Almodovar can stick in his cap. The emphasis on obsession works on many different levels, and this is among the better cast films in recent memory. I appreciated the equal reliance on characters, atmosphere and overall artistic look and design. Clearly, this is something an experienced director grabbed by the horns and wrestled into his own desired shape and form. I enjoyed it in many different regards because there is both entertainment and artistic value to be had.

Video:
Presented in its original 2.35:1 anamorphic widescreen theatrical transfer ratio, "Broken Embraces" is a bright and clear film to take in. The characters glisten as individuals, yet are not so vivid they take away from the carefully implemented balance between natural and arranged sets. The image exhibits very little (if any) film grain, and bright colors pop throughout with great personality. Some unusual, yet creative, camera work is noticeable at various points, fueling the complex plot and its equally complex characters. Cinematographer Rodrigo Prieto and editor Jose Salcedo deserve some real credit for helping make "Broken Embraces" look sharp.

Audio:
No real issues with the Spanish 5.1 Dolby Digital surround soundtrack. Also available is a French 5.1 Dolby Digital. Both are quite good for a film that lacks major explosions but emphasizes music, vocal tones and dialogue. English and French subtitles will be useful if your first language is not Spanish. All sound, including naturally occurring background noise, is crisp and audible throughout the film. On occasion a surround sound hint helps build tension and atmosphere. Musical selections are placed well and unique, thanks to Albert Iglesias.

Extras:
A small but rich offering here, including several deleted scenes, a short segment or two where director Almodovar gives carefully detailed instruction to lead actress Cruz, a short film Almodovar directed titled "The Cannibalistic Councillor," a few minutes filmed during the closing night festivities at the New York Film Festival and a question and answer session Cruz went through with "Variety" magazine. The special features don't give "Broken Embraces" the insight it deserves, but are still entertaining regardless.

A Final Word:
This is a rich foreign film that subtly works in a few twists and turns, but doesn't let them stick out as the only elements worth remembering. Those components would be the performances and atmosphere director Almodovar so carefully scouted out and generated. Rich with love, deceit and tense moments, "Broken Embraces" was a gem to watch. The whole thing is polished, yet it feels fresh and natural thanks to its strong cast and carefully articulated structure. I thoroughly appreciated both.