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|Also Known As:||Pedro Almodvar Caballero||Died:|
|Born:||September 24, 1949||Cause of Death:|
|Birth Place:||Calzada de Calatrava, Ciudad Real, ES||Profession:||director, screenwriter, composer, performer, producer, comic book writer, production designer, author, telephone company employee, jewelry designer|
Biography CLOSE THE FULL BIOGRAPHY
plight of a contemporary Spanish woman (Marisa Paredes) - also revealed a more mature artist at work. Audiences expecting the enfant terrible's familiar, off-beat black humor saw a return to the masterful high comedy of urban life, accompanied by the sad notes of resignation and compromise that signaled a new austerity. With "Live Flesh" (1998), Almodovar moved past never referring to Franco while showing that he could fuse visual and sexual anarchy with the most elegant of plots. He also, for the first time, filmed material which he had not originated, loosely adapting Ruth Rendell's novel into a completely Spanish sensibility. Starting with a prostitute giving birth a son during the last days of Franco in the 1970s, "Live Flesh" focused on seemingly random people and events brought together by a single gunshot, turning a police officer into a paraplegic and the boy born on the bus into a convict. More politically-minded and sober, Almodovar reinvented himself as a consummate stylist with a serious touch. The departure from his wildly comedic storylines represented the evolution of a director who needed to tackle fresh and dangerous territory to escape becoming mannered.Almodovar successfully fused...
plight of a contemporary Spanish woman (Marisa Paredes) - also revealed a more mature artist at work. Audiences expecting the enfant terrible's familiar, off-beat black humor saw a return to the masterful high comedy of urban life, accompanied by the sad notes of resignation and compromise that signaled a new austerity. With "Live Flesh" (1998), Almodovar moved past never referring to Franco while showing that he could fuse visual and sexual anarchy with the most elegant of plots. He also, for the first time, filmed material which he had not originated, loosely adapting Ruth Rendell's novel into a completely Spanish sensibility. Starting with a prostitute giving birth a son during the last days of Franco in the 1970s, "Live Flesh" focused on seemingly random people and events brought together by a single gunshot, turning a police officer into a paraplegic and the boy born on the bus into a convict. More politically-minded and sober, Almodovar reinvented himself as a consummate stylist with a serious touch. The departure from his wildly comedic storylines represented the evolution of a director who needed to tackle fresh and dangerous territory to escape becoming mannered.
Almodovar successfully fused his new maturity to the outlandishness of his past films with perhaps his finest offering to date, "All About My Mother" (1999), a compassionate and often bittersweet drama about a single mother (Cecilia Roth) grieving the loss of her only son (Eloy Azorín), who travels to Barcelona to find his long-estranged father who is now a transvestite. The grieving mother receives help from old acquaintances, including a transsexual (Antonia San Juan) who introducers her to a kind-hearted nun (Penélope Cruz). Bright, witty and not without melancholy, "All About My Mother" was hailed by critics as being one of Almodovar's best films. It went on to win numerous awards the world over, including an Academy Award for Best Foreign Film. Almodovar delivered another fine offering with "Talk To Her" (2002), an offbeat drama about two men (Javier Camára and Darío Grandinetti) brought together by eerily strange and similar circumstances - namely that the two women they are infatuated with (Leonor Watling and Rosario Flores) have both ended up in comas resulting from freak accidents. Once again, Almodovar's maturity as a filmmaker was on full display, while he earned even more critical praise and another Academy Award; this time for Best Original Screenplay.
Returning somewhat to the provocative nature of his earlier work, Almodovar directed "Bad Education" (2004), a thoughtful examination of sexual misconduct perpetrated by the Catholic Church upon two young boys who grow up 20 years later to become a film director (Fele Martínez) and an out-of-work actor (Gael García Bernal) who transforms himself into a transsexual in order to play the lead in a film. Partially based on his own travails with a Catholic experience, "Bad Education" was a surprisingly dark and somber film that reflected upon the themes of lost love and the demons of one's own past. The film opened that year's Cannes Film Festival and went on to do respectable business worldwide while earning the director even further acclaim. Reuniting with who was fast becoming his onscreen muse, Penélope Cruz, Almodovar helmed "Volver" (2007), a dark and otherworldly dark comedy that explored the relationship of three generations of women that ultimately ends in tragedy. Hailed by critics once again, Almodovar's "Volver" was a hit at the 2007 Cannes Film Festival and helped net Cruz an Oscar nomination for Best Actress. The director tapped Cruz a third time for his next film, "Broken Embraces" (2009), a neo-noir thriller about a writer who was blinded by a brutal car accident still lamenting the loss of his one true love (Cruz).eme, Tim (F*ck, F*ck, F*ck Me, Tim)" (1978).
After graduating to 16mm stock for his next feature, "Salome" (1978), Almodovar broke through with his first commercial film, "Pepi, Luci, Bom and Other Girls Like Mom" (1980), a low-budget satire about female friendship and solidarity in the face of an oppressive society that was a success in Spain due to its campy style, outrageous humor and unbridled sexuality - all resulting from the newfound freedom of Franco's death. Following "Labyrinth of Desire" (1982), his first collaboration with Antonio Banderas, Almodovar forged ahead to develop an eye-popping colorful style, making affectionately off-the-wall movies that chronicled the dark, bawdy and ultimately lonely misadventures of people living on the fringes of society - heroin-shooting nuns in "Dark Habits" (1983), a speed-addicted cleaning woman in "What Have I Done to Deserve This?" (1984), a murderous bullfighter in "Matador" (1986), and lovelorn homosexuals and transsexuals in "Law and Desire" (1987), a film that drew fire for its depiction of unprotected gay sex. Though openly gay, Almodovar took umbrage at what he considered the pejorative label of being a gay filmmaker, arguing that the homosexuality depicted in his films did not make them gay films. The director successfully transcended early attempts to classify him by becoming the undisputed leader of the New Spanish Cinema.
Funny, outrageous, sexy - even kinky - Almodovar's early movies were driven by headstrong and high-strung heroines, earning him a reputation as an astute director of women. He achieved international acclaim with the exuberant farce "Women on the Verge of a Nervous Breakdown" (1988), a witty, wacky and irreverent look at modern love as seen through the relationships of several neurotic women. Audiences responded enthusiastically to the director's manic exposé of 1980s Madrid as a playground for female-centric humor, making the film one of the most successful in Spain's history, while earning international adulation and an Academy Award nomination for Best Foreign Film. Most significantly, "Women" broke through in the United States, where it grossed a surprising $7 million at the box office. For his next film, Almodovar attempted a high comedy in the vein of "How to Marry a Millionaire" (1953), resulting in what he called an "absolutely white" movie covering 48 hours in the lives of several hysterical women with no time for even sex or drugs. Though seemingly at odds with the uninhibited signature of his earlier work, the lack of oral sex acts and dope that made it - in the words of leading lady Maura, "a film that our nephews will be allowed to see" - also made it more accessible to conservative U.S. audiences.
His next film, "Atame!/Tie Me Up! Tie Me Down!" (1990), however, earned an X rating for its one prolonged sex scene, which showed the two lovers only from the waist up and focused primarily on the woman's sexual fulfillment. Perhaps the success of "Women" had made him a target of the MPAA, but the advocacy of William Kunstler on the picture's behalf failed to dissuade the ratings board. The X rating stood, causing the incensed director to compare MPAA's tactics to fascist techniques under Franco. "Tie Me Up! Tie Me Down!" - the director's fifth and final movie with Banderas - grossed $4 million in the States. Americans who loved the campy "Women" responded less enthusiastically to the plot that involved an obsessive man (Banderas) kidnapping a beautiful woman (Victoria Abril) and demanding that she love him. Next for Almodovar was "High Heels" (1991), which started in his typically irreverent, wacky style, but the melodramatic film about a television anchorwoman (Abril) and her eccentric mother (Marisa Paredes) getting caught up in murder ultimately ran out of steam about halfway through. Meanwhile, a lengthy rape scene in "Kika" (1993) led to cries of exploitation, once again causing the director to decry Americans as puritanical and lacking a sense of humor.
Almodovar moved on to his next film, "The Flower of My Secret" (1995), which - while true to Almodovar's typically sympathetic focus on the
Filmographyclose complete filmography
CAST: (feature film)
Milestones close milestones
Some sources list 1951 as the year of Mr. Almodovar's birth.
"Women on the Verge of a Nervous Breakdown" received the 1989 Orson Welles Award as best non-English film, the Goya as Best Film and that same year the Spanish magazine Cambio 16 named Almodovar as Man of the Year.
"All About My Mother" was named the Best Foreign-Language Film by the Academy of Motion Picture Arts and Sciences.
"It's something magical. To me it has become an obsession that sort of parallels a great love story. When you start a love story, you're moved by something very concrete. Perhaps a physical attraction. And then with time you discover the reasons why you are with that person. And a great love story begins to happen as the years pass. As if you have a disease that finally ends up consuming you entirely. Film has become something like that for me. At first it was a love story with a very immediate pleasure. And it has become something much more painful as time passes, but also something much more complete. Something I couldn't live without. I wonder where that need to make films and to narrate stories comes from. I don't know. Perhaps it is a fight against death, a fight against all the limitations we face." --Pedro Almodovar quoted in Los Angeles Times, May 6, 1990
"I want [the characters] to live in a universe that belongs only to them, as if they were alone in the world, and where pain becomes the only protagonist in their life.
It's not that I have any sympathy for murderers. But in my films, when one of my characters kills, as a writer I try to understand and explain it. And from that moment forward you're taking guilt away. And my characters--as I do--feel a natural antipathy towards authority and the police. So my characters end up winning." --Almodovar to New York Post, December 17, 1991
"Women on the Verge . . ." exemplified the classic Almodovarean technique of blending kitsch, melodrama, fantasy and salacious humor into a nimble and assured exploration of human feeling: Gabriel Garcia Marquez crossed with John Waters crossed with Virginia Woolf. Almodovar knows how to create female characters that are finely nuanced and surprisingly complex. Like Hitchcock, he is also a master at depicting the life of objects: typewriters, blenders, answering machines. And then there are touches that show no influence, that belong only to Almodovar." --From "Almodovar on the Verge" by David Leavitt in The New York Times Magazine, April 22, 1990
"He is a very courageous, brave man. He doesn't have any kind of fear when he is behind the camera. There is no self-censorship.
"Almodovar has always been afraid of Hollywood's control . . . But I think finally he has found some people and studios that will take a risk with him. I don't see Pedro Almodovar directing somebody else's scripts or somebody else's ideas. It must be something that comes from his heart." --Antonio Banderas quoted in Chicago Tribune, February 19, 1998
"I would like to work with him [Banderas], but I don't know if that's possible--he's become too expensive for me." --Pedro Almodovar to New York, January 19, 1998
"My first films coincided with a moment of absolute, vital explosion in the city. Madrid in the beginning of the 1980s was probably the most joyful, the most fun, the most permissive city in the world. It was really the rebirth of the city after such a horrible period as the Franco regime. If there was something characteristic about Madrid, about the culture of Madrid that I belonged to, it was the night life. That was my university, and the university for many others . . .
"Young people now are very preoccupied with the market, which is natural. But I remember in the early 80s, everything we did we did for pleasure, because we liked to, for the joy of doing it. Now people are not doing that, and it is a pity. Because when you are starting out, that is when you need to do exactly what you want, with no responsibility." --Almodovar quoted in The New York Times, January 18, 1998
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