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7 of 7 people found the following review helpful:
5.0 out of 5 stars
So good, it distracted me from the 5* film!, 19 Jul 2003
Almodovar, through his director of music Alberto Iglesias, in this film almost rivals the maestro of the music-track, Don Martin Scorsese. The song "Cucurrucucu Paloma" is extraordinary, very beautiful and perfectly sets the tone for the moment when Lydia and Marco have their most tender moment. But indeed, it is the "paloma triste", foretelling what is to come, death and heartbreak. There is a much more deliberate and overt Spanish and Latin flavour to the music than in previous Almodovar films, although Iglesias has set other Almodovar films. All of it is evocative and captivating. Every now and then, a song or a tune will encapsulate or define a film. The zither in "The Third Man" conjures up Orson Welles peering out of the shadows, Morricone's plangent guitar riff represents a dusty dog scuttling across a windswept street in the Very Wild West, before all hell breaks loose, the intro to "Born To Be Wild" immediately evokes Hopper and Fonda astride their choppers, going to look for America. For me, "Cucurrucucu Paloma" will always bring to mind Rosario Flores's magnificent and sensational Lydia and "Raquel" leads us out of the tragedy of Lydia and Begnino with gentle humour, on to the evident hope of Marco and Alicia, as the dancers shimmy onto the stage with that delicious wiggle on the beat, at the close of the film. 5* music. 5* film.
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