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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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Absolutely amazingly essential!!
Providing interesting views, facts, and insight on many of his films and actors, there is no one who knows more about Almodovar than the man himself. His discussions are usually very open, especially when discussing several incidents that were high publicized in the European press, mainly his falling out with his most famous actress, Carmen Maura, after the completion of his masterpiece "Women on the Verge of a Nervous Breakdown." Their professional divorce left Almodovar without a dependable leading lady (feature lead actresses Victoria Abril and Marisa Paredes never could capture Maura's persona) and it marked Maura's somewhat decline in Spanish film (she later went on to do several unsuccessful Spanish films and some television work before moving to France to break into French cinema.).
The book which is out of print is one of the best one-to-one interviews I've ever read. Almodovar's contributions to world cinema are so numerous that they can be all listed here, and his work has opened the door for many other Spanish and Latin American film directors such as Carlos Arau and Bruno Bareto in showing the world that foreign language films can be as professional and productive as any big budget film churned out by Hollywood.
"Almodovar on Almodovar," is a must have for any Almodovar fan and film studies student. An excellent book on one of the world's most gifted directors.
Heels." Almodovar has always maintained a love/hate relationship with the Spanish film industry. Almodovar was denied funding for "Matador" due to his critique of the machismo inherent in the world of bullfighting. He linked the violence of bullfighting with the practice of necrophillia infuriating much of the Spanish public although the film was a smashing success. He was again denied funding when the board rejected the homosexual themes that make up "Law of Desire." AIDS activists accused of failing to deal with the disease because he failed to mention it altogether. Almodovar points out that his movies do not exist in a real place and in his world, AIDS does not exist. As with his collection of stories, "Patti Diphusa and Other Stories," Almodovar's interviews have a care-free attitude that is infectious. He discusses all of his eleven films including last year's "The Flower of My Secret" which many critics compared favorably to the women's films of the early '40s. This collection of essays is a gentle kiss harking back to such a magical women.
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