Almodóvar´s film is the first in the class made after Franco´s death in 1975. We spoke in class of how it is representative of the “Movida,” the artistic underground that developed in Madrid at a time when democracy opened cultural spaces that would have been unthinkable at the time of the dictatorship.
While Erice and Saura (in The Spirit of the Beehive, 1973, the former, and Cría Cuervos, 1976, the latter), had used young people to raise the specter of the future, Almodovar represents the generation that IS the future (traumatized, but with a very different personality than that of the woman who plays “future Ana” in Saura´s movie).
Almodóvar represents a generational voice that had little say in the transformation of the arts or politics in Spain. In the period after Franco´s death there is an intense focus on constructing and establishing a national democratic infrastructure –the writing of the constitution, the amount of power granted to the king, etc. The task was left to a political elite that had to find compromise between the freedoms expected after the end of the dictatorship and the economic demands of the transition. It seems that in focusing on those matters, Spaniards forgot about the generation of kids that had no connection to the politics of the war. For this younger generation, the war was in the remote past, and to them, modern democracy was a practical, as well as a theoretical matter. Their concerns focused on the type of laws that were drafted, their effect on their everyday life, their education, their jobs, etc.
Almodóvar represents the first generation of the Spanish rural working class that moves into the urban lower-middle class. This social mobility was achieved in the 60s, with the Francoist policies of industrialization and modernization. Almodóvar´s biography is an interesting example of this growth. He moved to Madrid from “the provinces”; his father died when he was young and was raised mostly by his mother and her family. Almodovar´s rural origins are fundamental to the meaning of his films. He is able to relate much of the conflict between tradition and modernity in Spain to the contrast between life in the village and life in the city. The difference between Almodóvar´s rural vision –or vision of rural characters—is that his is often different than the view of the countryside held by the more bourgeois directors (Buñuel, even Erice).
Almodóvar represents the first generation of the Spanish rural working class that moves into the urban lower-middle class. This social mobility was achieved in the 60s, with the Francoist policies of industrialization and modernization. Almodóvar´s biography is an interesting example of this growth. He moved to Madrid from “the provinces”; his father died when he was young and was raised mostly by his mother and her family. Almodovar´s rural origins are fundamental to the meaning of his films. He is able to relate much of the conflict between tradition and modernity in Spain to the contrast between life in the village and life in the city. The difference between Almodóvar´s rural vision –or vision of rural characters—is that his is often different than the view of the countryside held by the more bourgeois directors (Buñuel, even Erice).
Of course, that is not very clear in Laberinto, which is a purely urban film. It is important to point out that it is a film made by young people, about young people, and that such a representation has to be valued along with the symbolism created by a 60-year-old, crusty middle-class filmmaker.
There is a relationship between the moral attitudes displayed in Talk to Her and Laberinto in how Sexilia´s definition of the limit of sexual interaction parallels the one drawn by Marco in the first film we saw, here with limits that were way more elastic than in Talk to Her.
Laberinto touches on a variety of issues that can be given a political twist. The contrast between traditional and modern structures is important here, and, as we have seen in other films, there is a questioning of the traditional mores on the grounds of their inefficacy, or their inability to account for the broader spectrum of behaviors in “real life”. The numerous dysfunctions that affect the families in the film (incest, infidelity, betrayal), are associated with the power structure of the traditional family (including the Shah of Tyrán´s desire to father most of his citizens), one that, Almodovar seems to tell us here as well as in Talk to Her, comes from the social inability to discuss traditional taboos. The enjoyment of sexuality also is an important theme for Almodovar: fulfillment of desire through harmless fantasy (including the pseudo-incest of Queti and Sexilia´s father, or the grotesque, masochistic scene where Almodovar directs Fabio´s torture and murder with a drill, while (s)he is talking on the phone). Similarly, unfulfilled desire leads to unhappiness, and the notion of unhealthy or mechanical love takes the form of the test-tube experiments of Sexilia´s father. The doctor´s parakeets don´t sing because they are not happy… and the scientist tells Queti: what is the purpose of bringing life into the world if it is not perfect? But all of the issues resolve with an optimism and humor that is very distant from the social critique of the British punk era, which was responding to unemployment, social and economic stagnation, in contrast with the expanding Spanish economy of the time.Finally, it's important to note that although the film builds on the contrast between “liberated” gay sensibility and the traumas created by traditional impositions on sexual relations, the climax of the film is the consummation of Sexi and Riza´s (heterosexual) relation in the airplane once they have become free of their neuroses. Like all the other films we have seen, there seems to be a conclusion that challenges traditional structures but ends up reproducing them.
Within Liberinto de Pasiones, Almodovar examines a world post-Franco. He contrasts the world with Franco, where many social elements were kept under-wraps and everything felt somewhat restrained, and shows what it is like after his death, where many social aspects and views were being changed and opened. Almodovar specifically explores the evolution of post-Franco sexuality and sexual identity. In the film this is seen in many of his characters but most importantly, this can be seen in both Sexilia and Riza’s characters. For Sexilia, her sexual identity is wrapped up in being a nymphomaniac. She is constantly sleeping with other men. This breaks Franco tradition, where anything besides marital sex was unheard of and frowned upon. In this, Sexilia challenges the past and shows a new type of sexual identity. She reflects a new genre and generation of women that were able to rise after Franco was gone. Additionally, Riza Niro followed a similar route with his sexuality. Riza Niro, as a homosexual man, broke classic Franco tradition. He would be considered an outlier in Franco-Spain because he didn’t follow the set social rules. However, in post-Franco Spain, he becomes apart of a new generation of men. He is no longer an outliner but someone who also has a voice and is not silenced by societal rules. In both of these characters, the audience sees an opening of views on sexual identity and sexuality. They see that there are different “categories” of sexuality and sexual identity. It isn’t as restricted as in Franco times and its more widely acknowledged socially. Liberinto de Passions reflects how this new generation accepts and views sexuality. In all, it mirrors the evolution of sexuality within Spain post-Franco.
ReplyDeleteEn la pelicula "Laberinto de Pasiones", vemos un compensación excesiva a la edad de Franco, donde había represión sexual, emocional, y expresiva. Después de ganar su libertad, los españoles eran libre explorar todo los ideas que fueron prohibidos antes del muerte de Franco en 1975. El director Almodóvar tomó la ventaja llena de este cambio y en sólo "Laberinto," él explora los temas de la homosexualidad, el incesto, las orgías, inseminación artificial, la violación, y otros tópicos que son todavía desagradable a espectadores americanos.
ReplyDeleteTambién, como la trama de la pelicula avanza, nosotros encontramos que las historias diferentes de los personajes principales son importantes si nosotros queremos comprender sus personalidades y sus acciones. El guión nos dice que hay cicatrices en cada vida, pero si nosotros podemos escapar y comprender nuestras cicatrices, este es el camino a una vida feliz. Esta obra pinta una pintura donde experimentación es beneficial descubrir quien nosotros somos en realidad - como en las historias de Sexilia "Sexi" y Riza Niro.
Es interesante los cambios de actitudes de los personajes (y las mujeres en particular) entre las películas hicieron durante el reinado de Franco y la pelicula "Laberinto de Pasiones." Mientras que todavía reprimida y bajo el control de los hombres en cierto modo, estas mujeres modernas encuentran maneras de expresar su sexualidad y ejercer algún control sobre sus propias vidas. Es claro que había un deseo importante para expresarse a través de sus vestidos, música, arte, y muchas formas de "rebelión" juvenil por todo la pelicula. En muchas maneras, "Laberinto" es una historia universal de personas quienes están tratando de escapar sus cicatrices. Pero en un sentido, este es específico a la progresión de España después de los años de Franco.
Scott Weaver
Pedro Almodóvar’s Laberinto de Pasiones or Labyrinth of Passion captures the spirit of the post-Franco era. For years under the oppression of the Francoist regime, there was no opportunity to flourish creatively or politically. Following Franco’s death in November 20, 1975, there was uncertainty as to how to carry on. Eventually there was an explosion of all this creative thinking. The people were no longer being held back and this attitude was reflected in their future actions. Censorship no longer existed. A call to claim back raucous life arose. There would be parties, music, and a sexual awakening! Labyrinth of Passions is no stranger to this movement called the la Movida Madrileña or the Madrilenian Scene. Throughout the film are examples of the behaviors reflecting la Movida Madrileña. The characters all have their little quirks. Sexual situations exist for each character, and their interactions are treated so casually. Not only is there sex. Drugs and partying consume some time for the characters as well. The film lets loose an expression of finally being able to embrace the basic desires of human nature. Almodóvar reveals a sense of freedom in breaking away from the restrictions of Franco’s regime. Although exaggerated at times, Labyrinth of Passion is a film that truly mirrors the embrace of freedom and shows a total disregard for Franco’s rules.
ReplyDeleteLabyrinth of Passion is true to its name regarding that the film is filled with entangled romances. Sexilia jumps at the opportunity to have sex with as many men as possible, before she settles with Riza Niro. Riza has one random hook after another with different men. Sexual passions exist and so do passions for music. Both Sexilia and Riza are involved in bands performing at concerts with crazy crowds. At the concerts, drugs constantly make an appearance, whether in song or with someone using it. The characters motivations in no way match the traditionalist Spain. Whereas, Franco did not want women to be outspoken or have desires, the film makes one of the head protagonists a female nymphomaniac. A desire remains to kick the past, riddled with Franco’s influence, away.
The film reveals a sort of rebellion that existed once Franco passed away. No longer would censorship be tolerated. Sex is embraced with a carefree air. The people express of feeling of no regrets. They truly wanted to celebrate the death not only of Franco, but of all his repressive ideals. Labyrinth of Passion could not be clearer in expressing this.
Today’s film took an (over)dramatic turn from the others films we have seen in class thus far. Pedro Almodóvar’s Laberinto de Pasiones represented a generation free of the cultural and societal expectations that had been imposed on previous generations in which traditional, Catholic, family values were upheld and anti-establishment messages were forbidden.
ReplyDeleteJust as the US experienced a sexual revolution in the 1960’s, Spain came into her own after the death of Franco in 1975. Undoubtedly influenced by western culture, sex, drugs and rock and roll represented a carefree lifestyle that rejected authority and embraced laissez faire mentality in which people did whatever felt good to them at the time. This can be evidenced in the casual way in which the characters flaunted their promiscuity. Scenes in which characters met on the street, looked one another over (making sure to eye the package beforehand) and went to bed together. This happened numerous times in Laberinto, when the disguised Riza and Fabio make about ten seconds of small talk before heading to bed, when Riza beds the young Antonio Banderas without even the pleasantry of small talk---just sensual looks and figuring out logistics of where to get it on. I find it interesting that Riza sleeps with numerous characters in this movie and yet Sexi is labeled the “nymphomaniac”. While her actions certainly warrant the title, so do Riza’s. The double standard when it comes to sexuality was as alive and well then as it is now.
I found themes of consumerism (the opening scene of a rack of modern sunglasses, the fashion, elaborate homes) and rebellion paired closely with anti-establishmentalism throughout the film. The characters wild behavior, sexual experimentation, and twisted familial relationships symbolized a very real break from societal norm and presented an almost “in your face” rebellion against the previous generation. I felt the incest scene was gratuitous and added for shock value when it could have been clearly understood by the audience without the nauseating experience of watching a father tie up his daughter and molest her. However, it is possible this is exactly the reaction that Almodovar sought and in that case, he succeeded.
Alex Willis
ReplyDeleteIn the 1982 film Laberinto de Pasiones Pedro Almodovar introduces the audience and Spain to a rogue and unorthodox type of filmmaking after the end of Francisco Franco’s rule. For the first time film directors did not have to worry about offending the Franco government and were free to express themselves as they chose. It is apparent from the beginning to end in Laberinto de Pasiones that Almodovar was ready to break free from the many traditional views of film and politics and express what he wanted how he wanted.
The most noticeable aspect of this film when compared to the other films during the Franco era was how uncensored and blatantly wild it was. Whether it was drugs, sex, or rock music, everything about this film felt completely different, and most likely had a refreshing vibe to it in Spain. I also found it interesting that different cultures and religions were represented in this film without much stereotypical bias. The most striking facet to me was how many of the actors played gay male roles. Based on a little side research there are gay men in several of his other films which could be the result of several things. He left his home to study film at a fairly young age and was likely influenced by other radical filmmakers of the time. It is also possible that he was just plainly trying to make a political/social statement. Almodovar is making a strong case for modernizing Spain and adapting to the popular culture trends around the world. It seems strange how extreme he went with some of his ideas, such as the incest between the drycleaner and his daughter, but I suppose to make a point it better be memorable.
This is also the first film, besides Habla con Ella that multiple stories are going on and many characters are used to tell them. With this being said this film did feel a bit crowded and hard to follow at times, but Almodovar could have been trying to pack in as many new ideas as possible in a short period of time. Like mentioned earlier many new themes and thoughts were presented in this film right after the Franco era, but it feels a bit overwhelming.
One last topic I wanted to discuss was the absence of children in this film. Bunuel and Suara wanted to exploit children to give their films a youthful vibe, but Almodovar does the opposite. He uses adult content in an attempt to make a more modern film that fit the times, and essentially ignores children. This could be suggesting that adults should start living their lives to the fullest and stop worrying about traditional values and ideals.
Laberinto de pasiones, written and directed by Pedro Almodóvar, is the first film that we have watched, excluding Hable con ella, that was released after the death of Franco in 1975, and for this very reason, the film offers a fascinating and compelling insight into Spain during its transitional period following the end of Franco’s regime. Through the use of the new found freedom within the cinematic industry due to the abolishment of Franco’s censorship regulations, Almodóvar was able to convey new, modern ideas and beliefs regarding a retreat from isolation, the pursuit of personal happiness, and the idea of casual and welcomed sex. The very first element that reflected the new and modern Spain that was emerging at the time was the concept of togetherness that was present throughout the entirety of the film. Coming from a period of extreme cultural and personal isolation, it was very interesting to observe the interaction between the youth within the film; they were constantly working together, laughing together, helping each other, and simply doing life together. During the years of the regime, society functioned in a completely opposite manner, with isolation and hostility being present and tangible among relationships and throughout the nation. As a side note to this, as someone stated in class, I also found it very interesting that this movie was the first that we have watched in which an outside culture was incorporated directly into the film, and not merely talked about as it has been in others. In addition to this concept of togetherness, another interesting theme that I observed was the idea that personal happiness is the ultimate goal in life, and that it should be pursued diligently so long as it is not hurting anyone. In the beginning of the film, it seemed as though the majority of the characters were deeply unhappy, including Sexilia, Riza, Queti, and Sexilia’s father. Sexilia was living hedonistically and was never able to make a genuine emotional connection with a man, Riza was attempting to fill a void by hooking up with different men, Queti was continuously raped by her own father, and Sexilia's father was lacking fulfillment and CONT
ReplyDeleteenergy in life. As the movie progressed, the characters began interacting with one another and working together, and they were all unanimously able to improve their happiness and contentment with life. For example, once Sexilia and Riza met, they were both able to discover genuine, emotional connections with one another, which led to them choosing to abandon their lives and home and run away together. In order for them to be able to do this, Sexilia enlisted the help of her new found friend Queti by having Queti receive plastic surgery and pretend to be her. Not only did this allow Sexilia to run away, it also helped improve Queti’s happiness by allowing her to escape the incessant rape of her challenged father. Another subsequent outcome of this teamwork was an overall increase in the happiness and joy of Sexilia’s father. Once Queti replaced Sexilia, her father was able to experience happiness for the first time in the form of sexual pleasure and energy; essentially, this happiness spread full circle. I truly found it to be absolutely fascinating that the film depicted not only an overarching theme of togetherness and collaboration, but it also showed how this can be used to achieve individual happiness, which was something that seemed to be utterly forgotten in the years between 1936 and 1975.
ReplyDeleteThe last concept that I believe must be touched upon at least briefly, is this new presentation of sex in a casual, accepted, and welcomed manner. During the years of Franco’s regime, traditional rules, values, and regulations were required to be followed, which included sex being saved for married couples in pursuit of producing offspring. This film, however, could not display sex in a more contradictory lighting. Throughout its entirety, the film displays how sex is something that causes pleasure and enjoyment among individuals, and that because of this, it should be welcomed and utilized. Perhaps the best example of this can be seen through Riza, Sexilia, and Queti’s openness, excitement, and willingness to sleep with nearly any individual that came their way. This was a completely new, modernized view of sex that was able to emerge following the end of Franco’s regime.
Adylene Silva
ReplyDeleteEn la película Laberintos de Pasiones, podemos ver la revolución de la cultura en España. Después de la muerte de Franco la "Movida" asumió el control de la cultura urbana y la influencia en las películas. La película es una muestra del nuevo mundo después de Franco y cómo interactúan con sus nuevos entornos. También pensé que era un comentario sobre la percepción de la sexualidad y las relaciones en España moderna. Tradicionalismo ya no es un tema relevante en la película. Lo maravilloso del director Almodóvar es su capacidad de hacer una declaración irónica de la relación entre Riza y Sexi, los que individualmente tienen una vida sexual muy moderna al tiempo. Riza se sabe públicamente que es homosexual y lo vemos con socios a lo largo de la película. No sólo provoca la mente que su figura pública es un personaje sexualmente evolucionado en los medios de comunicación, pero es irónico que él termina con Sexi, que es la más evolucionada versión de la sexualidad de su sexo. A Ella le gusta dormir con varios hombres o también con varios al mismo tiempo y realmente disfruta de tener relaciones sexuales, por lo que parece al espectador. Su enlace con Riza de sus traumas de infancia hace ver realmente Riza como compañero al final de la novela, perdonando a la convención de la monogamia, cuando duerme con su primera pareja femenina. Eso y el hecho de que ella quiere recurrir a valores tradicionales como la espera para tener relaciones sexuales con él, parece irónico al final de la película. Tiene un toque de sugerencia comentario que tal vez tradicionalismo todavía tiene una parte en la España urbana moderna. La fluidez del sexo fue una nueva declaración para la época. La película señala realidades que la vieja generación no quiere reconocer. Haciendo estas nuevas formas de pensar y haciéndolas tema principal de la corriente y popular en la forma que lo ha hecho Almodóvar abre las posibilidades para profundizar el cambio.
In Pedro Almodovar’s film Labyrinth of Passions, the audience experiences a new Spanish cinema. With censorship being lifted after Franco’s death, the themes of sexual identity and sexual freedom are very apparent in the film. The film opens with a duo dressed in punk rock clothing with loud makeup and hair. They are sniffing glue and then one of them goes to hit on a man sitting at another table. This gives us an idea of how the rest of the movie may play out. After being oppressed for so long, it makes sense that Spanish film makers pull out all the stops at this time. There are some truly shocking elements in the movie. Scenes depicting incest and rape, homosexual relationships, individuals dressed in drag, and drug use are all examples. No one seems to bat an eye at any of these things, and the young woman whose father rapes her multiple times appears to think that his behavior is less than appalling and really just irritating. The political commentary offered by the film is pretty simple and obvious in my opinion. With the lift of censorship, Spanish society is now able to express itself at any level and with a new level of freedom. It is an expression of sexual identity.
ReplyDeleteLaberinto de pasiones by Pedro Almodóva is a very interesting film that once came out post Franco-era. Immediately watching the film, one can see the credits and introduction of the movie is vibrant with more eccentric hairstyles and outfits. This is a great representation of how most young adults felt after the Franco era as they were free. This is one of the first film we have seen after Franco’s death, as all of the other movies we have watched had a similar theme with twisted children, and some sort of excrement joke as we have discussed in class. The movie devotes a great amount of time visually showing the audience the transitional period of Spain following Franco’s death.
ReplyDeleteAdult interaction was quite minimal with all of the films we have watched in class. If we take into account the previous films we watched in class were during Franco’s era, it would seem to make sense as citizens were silenced by the censorship of Spain’s reign. In contrast, this movie explicitly displayed multiple interaction with young adults’ expression joy and curiosity. It seemed as if young adults had embedded into them that their goal in life is happiness no matter what. We have seen in previous films where adults chose to settle: the aunt is miserable to mother Ana, the father is upset at the world and has succumbed to his glass beehive. I believe this is a strong representation of adults during the Franco era as they were too afraid to speak of to suffer the consequences. As Franco’s death shined a new bright light on Spain, young adults were not afraid and did not have fear of war embedded into their life. Growing up during a post war era is very different compared to a present one and it shapes characteristics and behaviors of citizen’s actions. I believe Laberinto de pasiones shows a great representation of this comparison, and Almodóva uses specific dialogue and eccentricity to differentiate his film.
Labyrinth of Passion Review
ReplyDelete---Xiaoke Qi
Labyrinth of Passion is a romantic comedy with unusual narrative structure and bright screening colors. It marked a new era of Spain in which people were freed from the dictatorship of Franco. Director Pedro Almodovar described the underground bizarre nightlife in Madrid and those who live with confusion, uncertainty, and passion. Spain opened up to the new ideas, but Spanish were confused with the confliction between traditional values and modern culture. Spanish women experienced the most significant changes in their social roles, which led us directly into the controversial points in Director Almodovar’s films. Almodovar intentionally subverted the hegemonic position of male in sex relationship and placed sex-driven women as the replacement to be the love domination. It was a complete subversion to Span society. The film started with a very impressive scene in which Sexilia was hunting for men. Sexilia was strong, sensitive, and independent, carrying all the values of the women in the new era. She was controlled by sex at the beginning, but after meeting the right person, Riza Niro, she once again went back to the innocent girl who believed only in love and marriage. In contrast, Queti represented the inversed transformation. She began with an image of the traditional Spanish woman who could “get used to anything”, even her father’s rape. However, with the encounter with Sexilia, Queti quickly accepted the idea of being independent and ran away from the miserable laundry shop. It is interesting that Queti, after the plastic surgery, slept with Sexilia’s father with the identity of Sexilia, yet this time the sex was not about the traditional patriarchy but the choice of woman’s free willingness. Besides the revolutionary images of women, the overturn of male’s role by presenting them as gay people. Almodovar expressed his tolerance and even understanding towards the topics like sexual confusion, sexual perversion, homosexuality, and incest by employing the carpe diem themes. This ambiguous attitude towards the “sex” subjects provided these awkward and embarrassing behaviors a sympathetic interpretation, and most importantly, symbolized the Spanish’s chaos and confusion after the release from the oppression of Franco’s domination. The confusion of identity and sexual orientation eventually turned into the determination of finding the real self. Princess Riza Niro was determined to run away from his country and become a rock and roll singer. He was comfortable with his gay identity and was quiet casual with his sexual partners. Sexilia was presented as a woman who enjoyed sex with several men at the beginning of the movie. However, when they fell in love with each other, Niro and Sexilia decided to run away from their past and build a family. The desire of leaving the past behind mirrored into the Spain history where the Spanish people had to leave the Franco’s era behind and walk towards the modern society with international influence.
“Labyrinth” seems like an appropriate descriptor of the film Almodovar constructed in ’82. With so many ways to push the envelope, it appears that the filmmaker chose an all-hands-on-deck approach, pulling in Spanish youth culture icons to interest his audience. A wise choice to make, considering that between the fluid sexuality, body humor, and taboo breaking he ran the risk of alienating those in the Spanish audience who weren’t quite with the movement yet.
ReplyDeleteAt a glimpse, the character of Queti warrants the closest look in this film. Her transformation is the most dynamic of the characters, with Sexi’s coming in at a close second. Sexual awakening is the tool of choice for the author. Queti begins her story as much of an “average woman” as can be found in such a complicated and rebellious story. She works (one of the few characters depicted with a normal job) at a laundry, she’s an avid magazine reader, she has no say in her sexuality, and her father literally perceives her as a sort of “all-woman” (a wife and daughter). Her friendship with the sexually liberated women of the film brings about a change.
It’s suprising that with the amount of male sex depicted that lesbian sex appears to be off limits. It doesn’t prevent Queti from developing a mild infatuation with Sexi, noticeably beginning when she becomes attached to Sexi’s leopard print skirt – not an article of clothing that probably would’ve been easy to find in Spain. Once she’s roped into the group later in the movie at Sexi’s place, she brings her own talents to bear in curing some of the gassiness that floats around the film. She’s not only gaining membership to a group of young liberated women, she’s empowering herself and others with her knowledge. It’s actually quite a feminist moment for Queti.
Her further involvement in the group brings her closer and closer to the liberated status of Sexi. Eventually, she literally becomes her. Regarding her final scene in bed with the newly liberated father of Sexi, it may be interesting to note that in an anthropological reading, breaking taboos is typically associated with gaining personal power, usually to prepare for battle. Breaking an incest taboo is perhaps the most powerful move a human being could make, though it’s almost always an unforgivable transgression that’s supposed to destroy the individual (Almodovar has debatably few if any repercussions to the taboo breaking in this film). That Queti initiates the sex, and is demonstrably in control of the situation when she takes the call from the analyst, she ends the film as the most transformed and empowered character in all of Spain, a pretty positive message.
-Elias Palmer
Las películas de Pedro Almodóvar tienen varios elementos en común: el juego de los géneros, salir de las normas, sexualidad, crítica social y algún tipo de incesto. “Habla con ella” es un eco blando a comparación a su largometraje de 1982, “Laberinto de paciones” porque toca los mismos temas en adición a temas de inseminación artificial y “la movida madrigal” de España, acompañada de música radical y problemas psicológicos. En este largometraje, el director, abrió los mismos temas, pero de una forma salvaje y cómica.
ReplyDeleteEmpezando con los personajes, Sexilia es una ninfómana e hija de un doctor especialista en fertilidad. Riza Niro es un hombre bisexual hijo de un Shah y que se enamora de Sexilia. Pero Sadeq, un terrorista Árabe, se enamora de Riza. La madrastra de Riza, emperadora Toraya, también se enamora de Riza. Queti es una joven que idolatra a Sexi por su música Rock y trabaja con su padre en una tintorería. El padre de Queti la confunde con la madre de Queti que los abandono por otro hombre y, comete incesto violándola. Queti se somete a una cirugía plástica para asumir la posición de Sexilia que la convierte en hija del doctor especialista de fertilidad y tiene sexo con él. En realidad no es su hija, pero en la mente del doctor si lo es. Sexilia sufre de un trauma psicológico de niña y consulta con una Psicóloga que le encanta el sexo y quiere tener sexo con el padre de Sexilia. Entre el grupo hay dos personajes tradicionales, Eusebio y su novia. También hay dos escenas paralelas de una mujer secretaria que trabaja en el estudio del grupo “Ellos” y la de una secretaria en el aeropuerto. Todo conjunto forma el laberinto de pasiones donde todos tienen o quieren tener sexo.
La historia hace claro que la supresión sexual bajo Franco era similar a enjaular a un animal salvaje. Obviamente, en la primera oportunidad de ser libre, correría con locura hasta satisfacer cualquier sed. Almodóvar le da rienda suelta al sexo y homosexualidad de una manera sorprendente para una audiencia española conservativa. Al mismo tiempo, el elemento de la comedia reduce el asombro. Lo más importante es que Almodóvar juega con los géneros en todo sentido. Sexilia es mujer adicta al sexo, cuando usualmente se supone que es el hombre. Por lo contrario, el padre de Sexilia, “especialista en fertilidad” no le interesa el sexo y rechaza los avances sexuales que la Psicóloga le propone. Usualmente, el hombre seduce a la mujer, la mujer es la que rechaza los avances agresivos de un hombre. Al final, Sexilia determina ser de un solo hombre, Niro. Y el doctor descubre que si le gusta el sexo. Niro determina ser de un solo género sexual que es Sexilia. Sexilia se sana de ser ninfómana y Niro se sana de ser bisexual. Queti se traspasa de un padre que la obliga a tener sexo, al padre de Sexilia, liberando al doctor y a ella misma de cárceles sexuales, los dos de no querer tener sexo, a descubrir que si lo desean con la persona adecuada. Eusebio y su novia representan a la pareja tradicional que eventualmente buscan casarse y formar una familia pero que también tienen sexo.
El otro juego de géneros que juega Almodóvar es el de la mujer secretaria que es interrumpida múltiple de veces durante su intención de ir al baño después de ingerir un laxativo. Ella no logra controlar las interrupciones y en el proceso se hace popo en ella misma. Por lo contrario, la secretaria del aeropuerto que es acosada, controla las interrogaciones y demandas de los mismos grupos que acosaban a la otra. Un contraste de lo anticuado y lo moderno. Este elemento también se aplica a doctor que se muestra muy sofisticado y que piensa que el sexo es sucio, representando a la España durante el dominio de Franco y la iglesia católica. La liberación de los generos y la sexualidad son vivaces en la Espana libre durante “la movida madrileña.” Pero donde el amor aún prevalece y continuando ser la esencia de la felicidad. Fue interesante que Almodóvar participara en una escena cantando junto a su pareja de esa época, demostrando que tan personal son estos temas.
David Lopez
ReplyDeleteDe todas las películas que hemos visto, la película por Pedro Almodóvar Laberinto de Pasiones se enfoca, particularmente, en la juventud moderna que vino después del reino de Francisco Franco, y, al mismo tiempo, toma una perspectiva única en contexto de género. Al contrario de las películas que hemos visto anteriormente, Laberinto de Pasiones no tiene un sentido profundo de alienación. Laberinto de Pasiones se enfoca en la vida de los gropos de los jóvenes particularmente – entre el movimiento del punk. Los caracteres principales, Sexilia y Riza, de principio si se sienten alienados al principio de la película, por eso viven vidas de promiscuo los dos. Sexilia tiene fiestas de orgias con muchos hombres y ella viene siendo la única mujer. Riza tiene relaciones sexuales y casuales con dos muchachos uno siendo, uno siendo con Sadec (que es parte de un grupo terrorista que busca a secuestrar a Riza), y con otro muchacho que es parte de su banda. Pero en conocerse, Sexilia deja de ser ninfomanía, Riza deja de acostarse con hombres y se encuentra siendo heterosexual. En encontrarse, los dos ya no se sienten alienado y se sienten seguros de ellos mismos, también dejando todos los hábitos malos (también vale mencionar que Sexilia dejo de ser drogas). Lo que esto demuestra es que la alineación no puede coexistir con la felicidad. Pero también es un ejemplo de lo que representaba la juventud. Ninguno de los jóvenes se encuentra apartado entre la comunidad de los punks. Al principio Queti también se encuentra sola, y tiene solamente a su padre pero la viola. Queti después identifica bien con el grupo musical que administra Sexilia. También en el grupo de “Ellos” mucha gente de la audiencia identifica con ellos y esos muchachos todos parecen que son muy amigos. Cuando “Ellos” cambian su cantante principal con Riza, ese cantante les da información a los terroristas islámicos sobre donde esta Riza. El motivo de porque le informo a los terroristas es porque él se sentía excluido y era su forma de vengarse. La representación de género también es diferente a todas las películas que hemos visto anteriormente. En la película, hay veces donde puede ser difícil distinguir el género de los personajes. Cuando están siendo su concierto los miembros de “Ellos” están vestidos como mujeres y las mujeres que también están en su propio grupo tienen el pelo corto como un hombro típico. Las mujeres también tienen libertad igual que un hombre, hasta existe un grupo de punk de consiste de solamente mujeres. Entre los jóvenes no existe identificación por machismo ni por feminismo la identificación existe, principalmente, por el movimiento punk. En tiempos de Franco, esta representación de hombres y mujeres no podría ver pasado bien.
This movie was unique in two primary ways from the others we've seen this class. People actually talked to each other about what was wrong in their lives, and the main characters had a definitively happy ending. Yes, there are other differences such as the lack of censorship (it still existed, just far less so) and the presence of accepted risqué activities. But the film only used those differences to lead the plot towards the silly, happy ending the movie led into. I don't think any other movie we've seen this semester had happy, healthy relationships win out over the drama of life.
ReplyDeleteThe fan whom was raped by her dad, found happiness by choosing a middle-aged partner for herself. He happened to be her idol's sexually innocent father, she led him to find enjoyment in the sack. Happy endings for both.
The main character, sexy, had found love in her Bi boy band singer and royal heir to a foreign nation. He had discovered that while he enjoyed sex with boys, she was his soulmate. She had found that true love surpassed her playing house with her nymphomania, and that settling down for love was pure bliss.
The former singer of 'them' had found that his on again off again girlfriend was the most stable relationship he's ever had, even if they argue all the time there is love between them.
The psychiatrist got to be right about both her medical prescriptions and her advice to her patients to get to know their families better. Forever alone psychiatrist:(
The crazy princess lost on her childhood lover, because she was too greedy. Same goes for her agents and their money.
Really anyone whom schemed and did not confide their feelings in someone they could trust had a 'bad ending' whils those whom listened and askec for help prospered. They received happily ever afters for their open-heartedness. This movie was goofy and fun yet still hit you right in the feels. I enjoyed it greatly.
-Tim Henderson
La película, Laberinto de pasiones (1982) escrita y dirigida por Pedro Almodóvar es la primera película que representa totalmente la situación social después de la muerte del dictador Franco, entre los jóvenes españoles. La película en lo general, me pareció sin duda un filme de los 80’s en el sentido de que contiene varias escenas sin orden y un poco exageradas. Sin embargo, la historia desde el principio hasta el final, presenta la identidad nueva y única de la nueva generación de jóvenes que pueden expresarse de una forma diferente, pueden explorar con su sexualidad, algo que la generación de sus padres no podía hacer bajo la dictadura. Almodóvar hace un trabajo estupendo al enseñar los intereses de los jóvenes en los años 80, como el interés hacia la moda, la música punk, el arte, las drogas, en otras palabras participar en actos que se consideraban “rebeldes” desde el punto de vista de la generación que vivió la época de la guerra civil y una sociedad conservadora bajo Franco. Por ejemplo, el personaje de Cecilia Roth como, Sexilia, retrata una generación completamente diferente a la generación “antigua,” ya que en la película, Sexilia, es una chica guapa, provocadora, en cierto modo imprudente pero moderna. El uso de los colores llamativos en la ropa que llevan puesta los jóvenes, sus pelucas, la música, pintura, definitivamente representa una forma de atraer y de expresarse en un modo provocativo. Aunque este movimiento se consideraba un acto escandaloso e imprudente, terminó siendo algo normal y aceptado por la sociedad. Esta fue la primera película que no contenía niños o niñas, sino que la mayoría de los personajes eran jóvenes que querían encontrar un lugar en la sociedad y formar parte de este movimiento. Aunque me pareció diferente esta película a comparación de las anteriores, me gustó la representación que usó Almodóvar por medio de los personajes para describir de una forma más precisa, la situación de la nueva generación en la sociedad.
ReplyDelete-Bianca Soto
In Almodovar’s “Laberinto de Pasiones”, he really encompasses Spain’s new found freedom after the death of Franco. What better way to portray all this freedom, than with rebellious teenagers right. He explores a lot of taboo topics throughout the film. First, there is incest and rape. Queti gets rapped by her father because he thinks that she is her mother. But then Almodovar gives us this plot twist close to the end where Queti, who got plastic surgery to look like Sexilia, had sex with Sexilia’s father. This kind of shows how trauma has affected Queti and the things it has caused her to do. I feel like most of the trauma experienced by these teenagers symbolizes the trauma that affected Spain during the Franco era. This film, in a way, shows how Spain is dealing with that left over trauma after Franco’s death. Then, we have homosexuality as a very prominent topic in this film. You can see through this film how far Spain has progressed with the acceptance of homosexuals. We have this character Riza, who is the son of the emperor of Tyran, who decides to run away from his country to Spain so he can be openly gay. This really shows how Spain is moving away from its traditional ways and values. In traditional Spain they were very catholic and in Catholicism homosexuality is seen as a sin, to see this in a Spanish film is very progressive. Another thing that is shown in this film is Sexilia and who is sexually promiscuous. In traditional Spain women were suppose to behave a certain way and be pure and chaste. When we watched the documentary on the life of Luis Bunuel and in that documentary he mentioned that the sexual act, even if you were married, was deemed a sin because it could cause sexual lust. To see a film with so many rules being broken really shows the progression of Spain.
ReplyDeleteIn Laberinto de Pasiones, Almodovar illustrates the explosive, even orgasmic cultural shift that takes place after Franco has died. At first glance, all the individual characters and action that takes place seems a bit chaotic, as though the cork has been popped off the champagne bottle and Spanish youth are left to fend for themselves, for better or for worse. Immediately we are introduced to two representations of the younger generation and they are singing the praises of alcohol, drugs (anything can be a drug in this movie), and more alcohol.
ReplyDeleteThe young adults in the movie are gleeful as they liberally seek pleasure which seems to be the most important purpose for this generation in the beginning. Sexilia struts confidently through the streets, surveying all the “packages” that abound. Fabio sings the praises of being high and being gay. It is interesting that the two characters who would be considered the most conflicted and even problematic by traditional Spanish standards seem to have the least conflict within themselves. Yes, the vale of tradition and patriarchal control has been lifted, but the youth are not suffering in a way that history might fear. Despite their issues, the aim is to embrace oneself and flow through life with a pleasure compass, doing all that is needed to fulfill one’s own desires without harming another.
The birds in Sexi’s father’s care do not sing because they are young and unhappy; according to Sexi they essentially need an aphrodisiac. They need the zest for life and the freedom of expression that her father’s generation did not experience the way she has been able. Her father, who works a lucrative but sterile job, did not follow his passion and therefor he is unfulfilled and does not understand the true meaning of life for his daughter’s generation. This is all turned around in a puzzling way at the film’s end, when as mentioned in class, Sexi and Riza are “healed” of their “afflictions” in one big orgasmic moment in the sky. What does Almodovar intend to communicate in this moment? Sexi and Riza have found love, but they have had to relinquish their own previous desires to do so; or their desires for nymphomaniac sex and homosexual self-expression have melted away, but at what cost to the next generation?
Almodovar’s Labertino demonstrates in almost every way a world that is wholly different and new when compared to the previous films of Bunuel, Erice and Saura. The reverence for the countryside is gone as is the latent fondness for the traditional bourgeois and Spanish elite. Another notable absence in this film is that of the Catholic Church. There seemed to be very little reference to religion at all. Almodovar prefers to focus on the urban center of Madrid and the societal and cultural changes that accompany the shift to democracy. Outside influences are highly evident from the punk scene to far more open sexuality in young people. The use of incest in the film seems to be a very powerful symbol seeing as how it was used twice. The laundry girl, who was being raped by her mentally confused father in the end, decided to have surgery to look like Sexi and then continued to have sex (consensual) with Sexi’s/”her” father. Not only is this device very strange and new, but it says something on many different levels about the new-felt freedom many Spaniards must have experienced after the Franco years. The ability to be mobile, in life or a relationship for a woman must have been a new thing. To be able to leave the patriarchal “father-figure” (aka Franco) who is raping you, albeit lovingly for another father-figure is sexual freedom. It’s also interesting that she winds up in a similar situation but this time one of her own choosing. The same can be said for Sexi and Riza, who despite their “sexual deviance” from the norm, end up both happy at the end of the film when they consummate their traditional monogamous heterosexual relationship. One interpretation is; this new era with its new choices doesn’t mean the complete degradation of traditional values and morals. Only that people may now choose to live how they want.
ReplyDeleteMarcos Willman
ReplyDeleteLaberinto de Pasiones by Almodovar is a very strange coming of age film. It seems as the film represents the youth that in a way is being forgotten or over-looked as the country of Spain is focused on reestablishing a new political system. With the death of Franco behind them the youth of this time have the true freedom to rebel against the past generation like never before and this film is the perfect representation of this revolution, which will play a large role in changing the values and beliefs of the country. For the first time in Spanish cinema we witness in Laberinto, people discussing sex openly, watch as homosexual men flirt in public and take each other home, and of course, the use and reference of drugs. We even watch as a poor traumatized girl is raped every other day by her father taking an unhealthy mixture of drugs, and then openly discussing it to essentially a stranger without holding back, or as if it was very common or normal. These examples alongside the emerging “punk” scene show us the statement the youth of urban Spain are attempting to tell. Which is that they are going to do whatever they want and are going to break the suppressive traditions of their past in the most vulgar and open of ways. I believe that Almodovar, does a very good job of representing this attitude of liberation for the youth. The climactic airplane orgasm scene in the end can be seen as this new Spain that is being shaped by the youth of this time with open sex and no limits as to how the people should behave. Especially in the face of the generation before them, who lived during Franco’s Spain.
“El laberinto de pasiones”, una película por Pedro Almodóvar, el director había querido a hacer la ciudad de Madrid la más importante del mundo, donde todo puede pasar. La película demuestra la emoción de España para la nueva manera de expresión y, también, el sentimiento nuevo de libertad. Madrid, en los ojos de Almodóvar, era el centro del mundo futuro. Puedes ver la progresión de Madrid y España en general con el uso del director de los homosexuales. Que los homosexuales son los caracteres principales y están tan importante en la película es una representación de la España después de la régimen Franco. Hemos hablado en clase sobre qué un nacimiento de ahora es el pasado.
ReplyDelete“Laberinto de Pasiones” ayuda el espectador a entender que la España nueva todavía está sufriendo de su pasado. Una idea muy constante es la idea del sol español. La catalizadora, Sexi, tiene un problema con el sol brillante de España y esto demuestra que todavía, España está sufriendo de las acciones de Franco. En mi opinión, las figuras paternas representan como Franco ha dañado la generación moderna. En primero, todos los niños de la película están ignorados de sus padres. Es decir que en los años de Franco, el dictador no escuchaba a la población. La población estaba sufriendo durante al régimen Franco, y no le molestaba ni importaba. Pero la generación nueva está confundido porque todavía quiere el respeto y atención de sus padres.
La escena cuando Sexi está teniendo una “escena retrospectiva” en muy crítica para entender la película. Sexi siente como el amor no es real, ni de padres ni amantes. Durante todo la película, puedes ver que Sexi está compensando su falta de amor a través de encuentros sexuale muy fuertes. En la escena en la mente de Sexi, ella está siendo como no tiene ningún tipo de amor en su vida. Pero en el final, Sexi tiene el amor y los valores tradicionales españoles han sido cambiados.
El título de esta película describe muy bien en que tratarse de una historia de amor(es) interrumpido(es) y (re)conocidos, y en que lo expresa en un motón de formas y prácticas, especialmente en termas sexuales. Sobre todo, tras Pepi, Luci, Bom y otras chicas del montón, creo que es la mejor representación de la Movida y de la comunidad homosexual, y como interrelacionan los dos mundos juntos. Almodóvar filmó Laberinto en 1981-1982, el ano que fue la cumbre de la Movida. Por eso, la audiencia podría esperar lo “locura” y “escándalo” dentro de su obra, aunque es una poca desenfadada. No obstante, los críticos no fueron buenos porque el movimiento del cuento es demasiado caótico, y la mentalidad de los críticos era un poco retrasado, por supuesto. A pesar de lo caos de esta película, como digo, creo que es un buen retrato de amor en tiempos de transición y exploración en libertad (de lo que se encuentra mucha). Además, pienso que Almodóvar coge los mejores aspectos de la movida, especialmente la escena música, y sobre todo, pretenda a exponer la complejidad de sexualidad y deseo humano.
ReplyDeleteEsta película se enfoca y se celebra el aspecto de liberación sexual de todas maneras, durante el tiempo de la Movida y la Transición por lo general. Dentro de esta expresión de sexualidad, se puede encontrar el tema de promiscuidad, la cual refleja el nuevo apetito para experimentar con los deseos carnales. Conjuntamente, como un rastro, la gente de esta época tiene el nuevo poder de escogerlos cualquiera modo de expresar. Por ejemplo, Riza escapa su propia tierra y viene a Madrid para gozar y aprovecharse este destape por realizar sus deseos homosexuales. Dice que “Madrid es la ciudad más moderna del mundo,” en lo que es interesante es que Almodóvar juega con la perspectiva de un extranjero homosexual para enfatizar la salida de los pensamientos antiguos de franquismo y la ilusión de la juventud madrileña. Por eso, ese sentamiento se realice en la promiscuidad insaciable y sobre todo en las escenas pornográficas a lo largo del argumento. Por lo tanto, quiero enfocarse en el tratamiento del mundo homosexual. Ya sabemos que Almodóvar nunca intenta a filmar películas sobre este tema, sino quiere revelar y reconocer su existencia
Finalmente pienso que Almodóvar en ‘Laberinto de Pasiones’ está exhibiendo el mundo homosexual como un concepto universal, donde se puede encontrar una diversidad de todos tipos de gente, de todas clases y generaciones, buscando la misma cosa, como rastro, o laberinto.