The film is in the film, where everything seems to be very clear and unambiguous, until some details are revealed. The straight line gradually turns into a curve. Juan’s obsessive, almost manic obsession with the role is perhaps not very clear to me, but her acting, in my opinion, deserves flattering words. Trance suits him. Flashbacks are harmoniously woven into the main narrative. All the criminal savor is left for dessert, but the dramatic component is exposed much earlier. The information is given dosed, the inquisitive viewer needs to be patient to find out all the solutions.
In this picture, Almodovar uses a technique that will be repeated much later in ' Pain and Glory' - an elegant substitution of reality for film. But what to say - on the film itself, can you tell where reality is, and where fiction is?
Layer by layer, moving from one frame format to another, we move from one story to another, from one time layer to the previous. The stories told can you trust, because the narrator is unreliable - he wants to whitewash himself, the other is already dead.
Everything in this picture is like a wormhole - deception, pedophilia, drug addiction. Perhaps this should highlight the history of boyish friendship, which is stored in the heart for the rest of life, as ' one point is bright there, back, at the beginning of life, and then everything blacker and blacker and faster and faster' (L. Tolstoy, ' Death of Ivan Ilyich'). 'Bad education' in this case it consists precisely in the fact that this friendship was cut off. But I didn't get her light, alas.
Painting with meaning. Behind the screen of constant copulation, which is necessary in the film, probably to reveal the characters, we see the clear message of the author in the form of the difference between two homosexuals (or bisexuals). On the one hand, a person who was sexually harassed as a child, and possibly sexually abused by a padre. It certainly affected his psyche and we see what he's turned into. An immoral transvestite drug addict. However, he did contribute to the development of cinema, as his story was filmed by a second homosexual (or bisexual) who was not sexually harassed or abused as a child. As we see in the film, he became a successful director. He kept his intelligence and his head on his shoulders. There are questions for Ignacio's controversial brother, Juan. I don’t fully understand his motivation for some of the things he did in the film and how he got to where he was at the end, but it still gives me a +1 point because it didn’t look like it was fake. The character looked real. Violence of any kind (in this case, sexual) is an evil that can change a person beyond recognition.
Also, I would like to note excellent moves with interweaving names, faces, revealing secrets. If in the first quarter of the film I was confused about where is who, then I smoothly explained everything, which left after watching a sense of integrity in terms of narrative.
If you are not embarrassed in the frame of non-traditional sexual relations, then I recommend watching.
This film is probably a real acting triumph of Gael García Bernal. The movie is worth watching, at least for him! Going through many reincarnations, he plays one role more convincing than another, even the smallest roles just brilliantly succeed in him. It is impossible not to mention his female image - it is something incredible. So, probably, no one has ever tried to play a woman (I mean men, of course).
What can we say about the twisted plot, unusually bright style, directing and playing other actors! The film is based on different plot levels, the transition between which is deftly carried out by the director. The story is filled with unexpected twists, illusions and ambiguity. As a result, the characters can be fully understood only at the very end of the film.
Of course, the picture is based on a very ambiguous scenario, the moral content of which will not delight everyone. However, the film is good as a work of art.
"Bad Education" is perhaps Pedro Almodóvar's least typical film: it has neither the Spaniard's characteristic propensity to turn drama into farce, nor kitsch carnivalism, nor a single - strangely - female character. It seems that the authorship gives only a bright glossy picture with the most precisely constructed frames, and the fact that all the characters are homosexual and transsexual. In form, this is a serious (or at least diligently pretending to be such) detective noir with a multi-layered intrigue, which is hidden partly in the mysterious past of the heroes, and partly in the space of fiction, since the viewer learns the past from an unpublished story and from a film that is filmed based on his motives.
Up to a certain point, it is very difficult to understand how these “layers” relate, because the characters at different levels change not only names and gender, but also faces, and the chronology twists in bizarre knots, following how director Enrique Goded learns all new facts about the mysterious disappearance of his school friend Ignacio and gradually fits them into the plot of the future film. The desire to share reality, story and script – each with its own finale – is generally a much more fascinating intrigue than the detective himself, because priests who seduce boys from the parish school are hardly surprising, especially in God-saved Catholic Spain. Another thing is the ratio of reality and fiction, a fascinating plastic process, when the author of the work rethinks what is happening and constructs his version of reality, which for someone can become more real. Almodóvar convincingly creates tangible, tangible worlds—both his film and the film within the film—so that Goded’s team says, Stop! Cut! – sounds like a spell that destroys the charms, and the routine analysis of the scenery looks almost the end of the world, the destruction of the fabric of space.
It depends on your point of view. Thought is not the freshest, but, with skillful implementation, always interesting. If I were to tell the story of the painful relationship between Enrique, Ignacio and Padre Manolo in this review, there would be another level of history, and the killer would very likely be a director who strangely neglects his first love and does not recognize it in either “reality” or the story. "Bad Education" is somewhat autobiographical, and, as probably all autobiographies, gives a little narcissism. Goded, often seen as a resemblance to the young Almodovar, is virtually eliminated from the dark history in which he was one of the main characters. After all, the fate of the ill-fated Ignacio, whom everyone used since childhood, he had an influence no less, if not more, than the frankly unpleasant padre, declared the primary source of bad education. The static and emotional limitations of Fele Martinez, who played the role of Enrique Godeda, in this sense even goes to the benefit of the plot, not allowing you to call him the most cute of the characters. He becomes more of an archetypal director who, in any event—both the strange suicide of a woman who threw herself into a crocodile pool and the mysterious death of his friend—sees only a suitable or inappropriate story for the script, a more or less successful image.
The other side of the coin is Angel, the hero of Gael Garcia Bernal, a spherical actor for whom pretense becomes the only reality. He has an infinite number of names, faces, characters, and can exist only in invented circumstances. If the role of a caring younger brother categorically failed, you can become a kind of homosecular Lolita, mindlessly walking in microshorts in front of a pedophile priest. Then try on the image of the noir femme fatale, mysterious and languid, and in the end pretend to be a victim of circumstances and mythical bad upbringing (as if Almodovar once thought in the categories of “good” and “bad”!). He has no principles, but even simpler human attachments: he seems to be aware of his brother’s death only when he plays it on camera.
Although the film ends with the word “pasion”, it does not describe the lives of the characters, but their attachment to the cinema. In "Bad Education," passions are not so much boiling, as sublimated - naturally, in creativity, which requires new victims and new stories. Enrique was in no hurry to reveal the truth known to him in order to “see what happens next”, Angel (Juan-Ignacio-Sara), lost all orientation, including sexual orientation, and already forgot who he was. Almodóvar is not so much interested in specific characters as in the more general images behind them. The collective director actually rapes the collective actor, both suffer from understatement and tightly glued masks, but - what to do - only this is how it turns out (on) a real movie, only so the fictional world acquires relief and colors and becomes a new reality. With a suicide note, which eventually falls into Enrique’s hands, Almodovar modestly informs the heroes and spectators: “I succeeded”, tying all the lines with a common knot and cutting off the extra one. The search for new themes and symbols – later, and this world is closed by a heavy metal door. Stop! Cut!
Oh, this is Pedro Almodovar! He can make the viewer open his eyes wide in surprise. His films are filled with passion, beauty, feelings and, of course, quite typical characters: gay, transgender, bisexual.
The world of directorial fantasy amazes with its fiction. His stories become real soul thrillers. How do you perceive Almodóvar's cinema? Simple and easy.
I watched "Bad Education" twice, with a break of almost eleven years. The first impression was more complicated. Of course, you can't condemn the padre. But since almost all of Almodóvar’s heroes are obsessed with same-sex love, perverted love (if you will), genius is the norm for the artistic world.
The famous Daniel Jimenez Cacho and Lewis Omar perfectly showed obsession, passionate and uncontrollable love for the male sex, or rather, for boys. Strangely, you do not understand what is good and what is bad, you begin to accept the conditions of the game that Almodovar dictates together with his heroes. You don’t judge anyone, you just see what happens next. No, it's not that simple. Interest increases as the plot develops. I want to know everything. The director, as always, will stretch the intrigue to the very end and surprise with an unexpected denouement.
Gael García Bernal is the real treasure of this film. He brilliantly copes with different images and brings them mystery, special charm. One of the best film projects with his participation.
Fele Martinez played subtly, gracefully and noblely, showed the other side of love. The child's feeling is not forgotten, it preserves devotion.
Javier Camara General trademark Almodovar. We can meet this actor in many Maestro films. Every image makes you smile.
A wonderful film by Almodóvar, which is already inscribed in the history of cinema in gold letters. Have a good time. It will be very exciting and unexpected!
I love Almodóvar. I’m not sure about all of his films, but I don’t think it’s possible. There is too much provocation in them to be unambiguous. But I'm definitely a fan of his style. He skillfully interweaves kitsch elements and details with the general realism and naturalism of everything that happens on the screen. “Bad Education” is an example of a dramatic film in the style of Pedro Almodóvar.
It is believed that one of the main characters, the filmmaker Enrique Goded, is the prototype of the director himself. I can’t tell you how true this is, but it definitely makes the film more interesting and has a different meaning. Knowing this, we already perceive the film as a revelation.
The film shows us how important the past is to our present. It can never simply disappear without leaving its mark. So Enrique’s life bursts into his already forgotten memories of his first love in the person of a boy who presented that same love – Ignacio. And Ignacio doesn't come alone. He's got "The Visit" in his hand. This story is the link between all the actions in the film. As always, it's not that simple. This applies to the story and the characters.
In "Bad Education" there are no positive or negative characters. It seems that we have every right to condemn the actions of Mr. Berenger (Padre Manolo in the past) and Angel (Juan in the past), but we still understand the motives for their actions. And they wake up a little, but all sympathy. Ignacio himself is very difficult to call a positive hero. I feel sorry for him more than any other character. The most correct is shown to us by Enrique. But deep down, you understand that he played his part in making sure that this whole story ended exactly as it ended, even though we are not directly told about it. The main advantage of all these characters is that none of them are black or white. Each is different, bright, memorable and ambiguous. Below the plot.
Heroes played well. Gael García Bernal with his signature facial expressions and serve well suited the role. I will say the same about Lewis Omar - almost a perfect hit in the character. Fele Martinez I have not yet disappointed in any tape. I won’t say that he was outstanding here, but he was on par with the others, there is nothing to say. What surprised me was the young actors. Children are so often irritable overplay in the movies that you start to get used to it. Both boys were not inferior to their older colleagues.
There’s no denying that “Bad Education” is a queer movie. And it is aimed at a certain audience, so it makes no sense to recommend it to everyone or make it to "required_for_viewing". But I still believe that a film that evokes honest emotions automatically becomes worthwhile. That's the kind of movie you should watch.
Director Pedro Almodovar is a true genius. He makes gorgeous double bottom movies that excite his stories. Starting to watch the film of this director, you do not know what will happen next and it is simply impossible to predict the outcome of events. Over the script of this picture, Pedro Almodovar worked for ten years, and it turned out that something incomparable.
Bad Education is a detective drama that Pedro Almodovar directed in 2004. The movie is incredibly foggy and confusing. I guess you're just trying to stick together one big puzzle and figure it out. The director is a real master of his craft and skillfully confuses and amazes the viewer with his cinema.
In this detective, mysterious story, we see how a difficult script falls into the hands of one director. He finds something familiar in him and understands that the plot is from his life, or rather about his childhood in a Catholic school for boys. The walls of this school hold many shocking secrets, and we see a double-bottom story.
I remember the movie well. He's with his unexpected "skeletons in the closet" and I confess that this movie really surprised me. The film is bold and confusing. It is for those who love puzzle stories. In the film, Pedro Almodóvar plays Spanish actors, but the main role was given to the Mexican actor Gael García Bernal. This actor is talented and plays clean. He is not afraid of roles and can be anyone. In this film, he has an eccentric and daring role, and we should give him credit for the role that no actor would play. Also in the film took part such actors as Fele Martinez and Lewis Omar. The director made this film purely in his atmosphere and style. His films are different from others in the way he presents them. There is always a mystery, an exhilarating and shocking mystery and always everything, as in fact, there is another side of the truth. "La mala educacion" - a film about a broken childhood, about an adventure and an incredible story, which the director so skillfully and vividly laid out on the shelves.
This kind of film always causes shock and shock. The topic of "homosexuality" is now in demand in the cinema. In our country, gay movies pass by. But the situation is quite different in Europe and America, where this orientation is welcomed. As much as I love movies like Harvey Milk and Brokeback Mountain, I still believe that the main goal of such films is to plant people and make same-sex love as usual. The main maestro of Spanish cinema Pedro Almodovar does not change his signature handwriting. His paintings are recognizable from the first frame. As he says himself, homosexuals and transsexuals in his films are only for the background, and the feelings that these characters experience are familiar to every viewer. I cannot but agree with him, indeed, if it were not so much "dirty", then there would be no complaints about his work. But if you excuse me, I see direct propaganda of homosexuality, and if Almodovar says that in his characters we can see ourselves, which prevents making films for traditional audiences. I don't understand that.
The picture "Bad Education" by its name reflects the whole main essence of the film. This is a rare case where two words describe a director’s entire message. We are told the story of the successful director Enrique (Fele Martinez), one day a stranger visits him, who seems to be his friend of his youth. His name is Ignacio (Gael Garcia Bernal) and he brings a story about his childhood with Enrique. The story tells of their childhood years in a Catholic boarding school. Ignacio was the victim of violence by a padre. But the boy is in love with his friend Enrique. After the padre finds out, he begins to blackmail the boy. He has no choice but to make concessions. Next, the plot of the film develops at breakneck speed and in the course of the action, we learn a lot of secrets and unexpected consequences.
Pedro Almodovar puts great emphasis on raising children. Since childhood, the child laid the basic rules of morality and spiritual values. The director takes a Catholic boarding school for the scene and does it for a reason. Thus, we are shown that religion and the church are themselves vicious. In the film, Ignacio's moment of violence at the hands of the padre became the underlying cause of childhood trauma. Since childhood, children’s moral foundations and orientation are destroyed. As a result, we have a man who in the course of his life became a drug addict and dreamed of becoming a transvestite. Agree that such a fate is far from normal. Almodovar not only raises the subject of upbringing, but also hypocrisy and lies. Almost all the characters of the film are vicious and permeated with lies, some truth took the path of correction. Lies in the film are born out of jealousy. Jealousy is one of the most negative feelings of a person. The director shows what this feeling can lead to and how repenting people regret it.
Once again I admire one of the most talented actors of the generation Gael Garcia Bernal. A colossally difficult image, the Mexican actor plays flawlessly, against his background, all other faces are not taken seriously. Having eclipsed everyone, Bernal once again shows his skill in pulling out even the most successful projects.
"Bad Education" is a heavy and sad film, I will not advise it to anyone, too much provocation and shock. Pedro Almodovar touches on serious topics of education and the formation of personality. But with this, there are too many frank and nasty scenes in the film that do not color this work at all. Those who are a fan of the Spanish director will definitely like the film, but people who stumbled upon it by chance, I advise you to think again, should you watch it at all?
5 out of 10
Those who do not like movies about homosexuals should not watch, and those who treat them tolerantly are also not recommended. For all their tolerance, the boys caressing each other surprised me.
"Bad Education" shows a strange world, almost fantastic, populated by men whose wives were left behind. On the streets of Spanish towns, painted transvestites are walking, extorting from priests funds for sex reassignment surgery, serious intrigues are weaved, Sarah Montiel captivates with beauty, and young Ignacio endures violence to stay next to Enrique.
The undoubted plus of this picture lies in its title, and, it would seem, exposes the perpetrators. The root of all the troubled Padre Manolo, but then why did we not see the shock of the boy who was subjected to such a thing? What happened was more like a kind of confirmation, by the standards of the reality that the director created.
Well, I couldn't finish this movie because I wasn't ready for Almodovar. And also because if you imagine that what is shown at least in some way coincides with reality, it becomes bad. And from the methods of education in the first place.
This is where the brain is taken out in full... From teaching children in Catholic schools to... However, in order.
Personally, I was frankly cut by the secrets of the monastery walls. To a coma in the throat pity the boy Ignacio, who was in the clutches of the “holy” father. Isn’t that what made him a drug addict? Be my will... In general, my wishes clearly fall under a number of articles of the Criminal Code.
The second moment that caught my eye was a photo of the eldest son, the same grown-up Ignacio, with long hair, breasts and women's clothes, vulgarly made-up, next to a photo of Juan / Angel, the youngest son. Framed, on the wall. And the mother who hung the photo next to her. I still have a twist in my head, how many parents can accept their child like this, "strange"? Some normal children to accept as they are, can not, but here ...
As for the relationship between Ángel (Gael García Bernal) and Enrique (Fele Martinez)... Essentially, they both pay tribute - one to his brother, posing as him and being involved in his death, starring in a film based on his autobiographical story, the other making a film about his first love. How cruel they are playing with each other! And how far they go in their game... Almost to the limit of humanity.
Well, there's a lot to think about.
Shameless sounds shatter hypnotic darkness, as the electric arrow of lightning shatters the black storm sky, as the axe shatters the skull in which the thought of traditional love has taken root. The endless wild whirlwind of groans, smacking, hot whispers is the same one that chased lovers with whips on the second round of the Dantevsky. Ada is now tirelessly chasing homophobes of all sorts, ranging from ardent opponents of pederasty to quiet individuals afraid of the reality of “Sodom” ties. In a society where the childbearing organ of an adult man hangs over every little boy like a “sword of Damocles”, there are no prohibitions, no restrictions, no errors and “blinkered” views. There is only love that has no gender, so there is nothing more beautiful than two men caressing each other, it is so.
Pedro Almodovar in his “Bad Education” proves the naturalness of same-sex relationships in two counts – he deprives men of alternatives. In the sinful cinematic world of Spanish passions, there is no place for a woman, just as outside it. The dark silhouette in a hat in a parish school or the long-haired girls passing by are nothing more than ghostly scenery that shade the new real world of men, not in the patriarchal sense, but in the sense of homosexual. And only the image of the mother, horribly awkward and embarrassing, open the door to his own bedroom at the time of a filial heroin-masculine orgy, clumsily reminds everyone in the district of the old days when “Eve” was as beloved as “Adam”.
Leaving the woman behind the scenes, the director, however, does not hesitate to exploit her image. An almost mythological chimera, Ignacio is a monster with the body of a man and the head of a woman, generated by Typhon, a giant padre, a demon who took refuge in the church monastery, and Echidna, his vicious desires, which snaked in a tangle under the soutana. Someone artificial, contrary to nature, deserving of reprehension - the only "she" that Pedro Almodovar throws to the torment of the reborn society. Moral cripple Ignacio violates the ideal world order of "Bad Education" by his desire to be someone else, someone who contradicts the principles of equality in the soul and in pants.
Almodovar taught men not to be ashamed of frank feelings for each other. Taking in one hand the scepter - a phallic symbol, which from now on will become dominant in matters of carnal pleasures, in the other - the power - a symbol of consciousness freed from puritanical shackles, the director bequeaths to the public to love and give in to passion, and in the clearest beautiful eyes of Fele Martinez and Gael García Bernal is read somnambulistic devotion and readiness to follow the precepts of the master. Having carte blanche in their hands, the heroes have sex, kill, blackmail, make a movie about it and do not suspect that having received the absolute right to permissiveness, they did not soar over sin, losing interest in it, but got bogged down even deeper. Left alone with themselves, men cultivated Him: deception, vice, blackmail, drugs – and destroyed Love.
In his quest to portray the everyday life and “harmlessness” of same-sex love, Pedro Almodovar achieved the exact opposite effect. By placing the characters in the center of an almost detective story, the director himself destroyed the “charm” of homosexuality, pushing its “immorality” into the center of the circle. And the cornerstone of the whole picture is not “Passion!”, namely, “Ready for anything!”. “Sympathy”, which arises not from the kinship of souls, but from the similarity of the genital organs. Falling in love, which is measured not by the pulse rate, but by the frequency of frictions. A “love” that is not capable of creating a new life, but may well lead to someone’s death.
Even though eminent reviewers eagerly searched for flaws in the film and seemingly even found them, I still love it. For tenderness in half with bitterness. For the irony that keeps "Bad Education" from becoming too pompous. For the unique intonation of the director.
Almodovar didn't cheat here. All his signature chips are in place. The film is very musical. After watching it, you involuntarily begin to purr with the meditatively refined “ki sas, ki sas, ki sas, ki sas.” I do not know whether the great Spaniard counted on some cinematic allusions or not, but the melody immediately recalls the famous “Love Mood” of Wong Kar-Vai. And even though the films are completely different, there is a high feeling. Something like when in a foreign city suddenly you meet a kind and glorious friend. Another significant moment for me: defenseless, vulnerable, capable of deep emotional affection in this film is the strangest character.
As soon as not sealed "Bad Education" caustic critics! Fele Martinez gawks in vain at his failed eyes, allegedly expressing emotion. Calling Enrique empty-eyed is paradoxical and even a little funny. To begin with, Fele Martinez’s eyes are naturally expressive. But seriously... It is absolutely impossible to feel Juan, not Enrique. Bernal in the role of a sweet bad guy looks very organic. His only desire is to snatch a fatter piece from the table that Auntie Life covers. If you have to cheat, do something mean, please. Pocketing someone else's story, impersonating someone else - no problem. He tries on other people's feelings like clothes in which they will be allowed to enter an elite restaurant.
The costume is a little too small... This is especially evident in the scene where the convert Ignacio and Enrique are driving in a car. There's music. Apparently, this melody should bring back common memories. The young director turns to his “friend”: “Remember?” Juan-Ignacio responds to the misunderstandings with an empty look. Here asks a quote from Zemfira: "Remember?" No, you don't remember shit. And then – prophetic in the context of the film continuation: “And I do not really need.”
Enrique is an “ordinary” egoist demiurge. Very realistic and understandable character. Does he feel sorry for a motorcyclist who froze to death, rushing to someone who could no longer wait? Nope. But how he lights up the story, how he wants to promote it, serve it better! He can feel the story, understand it. And even if it is simple now, but he lives the world of cinema. His passion and desire to create make him more human and real. Yeah, I think I like him. Definitely cute.
With Juan Ignacio, Enrique tries to find something in common, to understand him. But the creator's intuition quickly gives the answer: he's the wrong person. Not who he says he is. Not the one that should be around. A liar and a liar is not ashamed to close the door. If you take the keys carefully, it is not...
Too bad the real Ignacio. At first, when the director presents such a freak to the inflamed imagination, disappointment arises. You wait, you wait, and then... Then you understand: a ridiculous hero in a stupid outfit for many years cherishes memories of semi-childish tenderness, sweet love languor. He hopes he's waiting. But... Life beckons and gives nothing in return. “I think I did it,” he wrote before he died. What a joy that Ignacio never found out: he did not succeed. Nothing but knowing how to love. Sincerely and for life.
It's not just a painting, it's a work of art. At first, it may seem that the plot is simple, and we have seen pictures of the reunion of two school friends many times, but, diving into the picture, we realize that everything is not so simple.
All the characters of the picture are extremely selfish, but despite this, they are completely dependent on each other. They are tied to the extreme, to the point of impossibility and unbearability. Together they create a real web, in the thread of which all human vices are woven. But despite this, the picture cannot be called vulgar, disgusting, immoral. The painting is one 106 minute uncompromising oxymoron.
Another intricate tangle of human destinies against the backdrop of beautiful landscapes of Spain appears before the viewer in the film Pedro Almodóvar “Bad Education”, released on the big screen in 2004.
The plot basis of the film is a story about same-sex child love between the pupils of a Catholic boarding school, who are trying to separate the director - Padre Manolo, madly lusting one of the boys. But the Spanish master of intrigue is not so simple.
One of the young homosexuals, Enrique Goded becomes a famous director. One day his office is visited by an old friend, the same Ignacio, and offers as a script for a new film his story under the strange title “The Visit”. Enrique, moved to tears by the story of their childhood love, firmly decides to start work on a new film.
From that moment, “Bad Education” splits into two parallel realities – one really surrounds the characters, the other is created on the set. The line between these worlds is so thin that the viewer is confused for some time, but by the middle of the film he recognizes the substitution.
The falsehoods in Almodóvar’s film, however, as always, are huge. Women, feelings, names, deeds and desires - everything deliberately looks artificial and amid the sea of human lies and tricks it is difficult to determine who is right, who is guilty.
But the main substitution is Ignacio himself. His younger brother Angel perfectly gets used to the image of a transvestite and former lover Enrique, both in life and on the set of “The Visit”.
"Bad Education" (this is characteristic of many works of Almodóvar) completely debunks all stereotypes and ideas associated with Spanish passions. Heroes of Pedro do not scandalize and do not arrange scenes, they hide everything inside themselves behind a thousand locks, and only facial expressions, actions say a lot. It would seem, how can you so subtly convey the same internal fracture? But there are no unattainable goals for great directors, and Almodovar is one of them. For “Bad Education”, he selected truly brilliant actors, for the most part already known to the viewer – this is Daniel Jimenez Cacho (“Alley of Miracles”, “Nobody Writes to the Colonel”), Gael Garcia Bernal (“Bitch Love”, “Letters to Juliet”), Javier Camara (“Talk to Her”, “Paris, I Love You”) and Martinez Fele (“Open Eyes”, “Darkness”), which, by the way, was nominated in the category “Best Actor in the opinion of the audience” for the role of Enrice / Godeda.
The finale of the film is undoubtedly the best. Simple, but with a little “intrigue for later”. Perhaps this makes us look forward to the new creations of Almodóvar – a master of drama with subtle humor and no less subtle taste.
The film “Bad Education” by the famous Spanish director Pedro Almodóvar, released in 2004, is perhaps his most autobiographical work. The story of director Enrique Serrano, who gets his hands on a script that reveals the relationship between Enrique and his friend at the Catholic orphanage Ignacio, is told in the daring and candid manner inherent in Almodóvar, which makes the film in the United States undeservedly received an NC-17 rating. However, the film tells not only about homosexuality and transsexualism, but also about the informal ties of Catholic priests with children, about the dangers of drugs, about love in its most unusual manifestations and about the power of instincts that can destroy lives.
The most interesting and autobiographical character of the film is Juan (Angel or transsexual Zahara) performed by Gael García Bernal, in which you can clearly see Almodóvar’s longtime friend and partner, transsexual, musician and actor Fani McNamara, in whose group in the early 80s the director acted. It is this strange character that is key in the intrigue of the picture and all the events of the tape are constructed on it.
From a visual point of view, the film “Bad Education” is one of the most brilliantly shot films of the 21st century. The fantastic work of the cameraman Jose Luis Alcaine is amazing from the first shots with its colorfulness and symbolism. In the picture, much attention is paid to detail, and therefore you need to watch it very focused, because in the script there are many surprises.
The soundtrack of Alberto Iglesias creates in the film an unforgettable dark atmosphere of the classic thriller.
“Bad Education” is a multi-genre, stunning film that everyone should watch and appreciate. This latest scandalous film by Pedro Almodóvar, of course, will not appeal to every viewer, but if you like famously twisted erotic and psychological thrillers, then this picture will not disappoint you.
10 out of 10
Perhaps it is difficult to give an unambiguous description of the picture, after viewing, at first there is something like confusion, you do not know what “column” to enter: liked or not.
I several times during the viewing I forgot that this is a film, it seemed to me that I was reading a book, the images of the characters and the composition are so unobtrusive that you completely immerse yourself in the story, neither advertising, nor propaganda, nor censorship.
I definitely like the movie, I like the unpredictability.
I don’t care about the main characters of a man or a woman, they sleep with each other or not, everything was “on the plot”.
I liked that there are few heroes in the film, but they have one big confusing story.
I read this “book” with interest to the end, not a masterpiece, but a movie to the mood, and now I have exactly this mood therefore:
8 out of 10
The director's strong work, he managed to show the film in the film, and I believed in both.