Bad Education Reviews
Big Picture : Movie about love, lost innocence and redemption.
Great work by Almodovar, and one of Gael Garcia Bernal's best performance.
While maybe not as racy today as it seemed in 2004, this endlessly juicy, surprising, and Hitchcockian film is supreme entertainment.
As his movies seem to weightlessly exist in a parallel universe comprised of Technicolor atmosphere, forlorn subject matter, and emotional garishness, it's scenes like this one that remind us that Almodóvar is as much a film aficionado as he is a maestro of film. Upon departure from the theater, one of the characters remarks that he and his lover aren't much different from the likes of Phyllis Dietrichson and Walter Neff. It's a gratuitous line in a picture so labyrinthine, maybe. But in the context of an Almodóvar film, a moment such as this one is almost a self-referential comment, smartly placed and subtly mocking.
Intentionally, "Bad Education" is, at its core, a hell of a lot like a studio noir from the 1940s, but instead of John Garfield and Lana Turner being showcased as romantic leads, we're presented with John Garfield and Farley Granger tempting one another. And black-and-white photography is pigmented, with social taboos intensified and understated love scenes amplified to graphic proportions. The usage of metafiction (much of the movie's action takes place in a film within a film) has the possibility to pledge indecipherability, but Almodóvar's calculated control delineates the movie as a rousing whodunit of a melodrama. "Bad Education" is a portentously original film; it's one of the best of Almodóvar's thrillingly extravagant career.
It's no wonder that the movie is such a provocative masterpiece: he worked on the screenplay for ten years, and a filmmaker of his caliber can only heighten their own sapience through long-winded contemplation. A highly personal film for the auteur (some of its content is based off of his experiences as a young man), "Bad Education" stars the magnificent Gael García Bernal as Ignacio Rodriguez, an aspiring actor and writer interested in providing the material and acting talent necessary for acclaimed filmmaker Enrique Goded's (Fele Martínez) next project.
His aspiration isn't based in sheer fantasy, though - as he and Enrique were childhood friends (first loves, in fact), there's a sneaking chance that an Ignacio based production could be waiting in the wings so long as the goods are actually good. And they are: soon after Ignacio presents Enrique with his screenplay, "The Visit" (which details a transgender woman's blackmail of a Catholic priest that abused her as an impressionable student), Enrique becomes enraptured with the story - part autobiographical and part soap opera - and is eager to affirm Ignacio's celluloid dreams. Hidden, however, is the deceit that lies beneath his façade of affable ambition.
There are two films that fill the sum of "Bad Education's" parts. One is its "real life" component, in which Ignacio and Enrique are artists of the screen scrounging for something cinematic to slurp up as hair-raising sexual tension rests between them. The other is made up of the events that take place during "The Visit," which is sexually charged, sardonic, and memorably features Bernal playing the dual role of Zahara, a blonde, trans femme who serves as the movie's quasi-heroine.
But the lines between reality and illusion grow increasingly blurred as seemingly imaginary happenings prove to be embedded in a far-reaching truth. "Bad Education" is initially a convulsive drama (with inklings of black comedy) that shifts into the gears of a standard murder mystery, made all the better because its big twist is so impossible to see coming (the film doesn't feel like a thriller for most of its length). Almodóvar is a puppet master, as easily able to manipulate our senses as he is to shifting between subject matters without losing his central preoccupations of broadstroked homage.
And Bernal gives what very well might be the greatest performance to ever call an Almodóvar film home. As both an enigmatic beaut with a few tricks up his sleeve and a metafictional, feisty female, Bernal is tasked with fleshing out an immeasurably complicated dual characterization, only to find victory thanks to beguiling percipience. Almodóvar uses Bernal as if they were Josef Von Sternberg and Marlene Dietrich, always framing his lead in a way that can only be described as both clinically (and artistically) infatuated and lustily exploitative. A fascinating pair, to be certain.
The film surrounding them, too, is a certifiable counterpart to their awe-inspiring devotedness. "Bad Education" at once feels inscrutably intimate and excitingly cinematic - like the majority of the films within Almodóvar's oeuvre, it grabs us by the shirt collar and astounds us in the way it both holds us hostage and genuinely hypnotizes us.
...which, before that final act, strangely enough, wasn't much. Strangely enough, because the ingredients where there, it's just that the overall result, before the final act, felt as if it was done in a hurry. The layers where there, certainly there were some intriguing elements, but it just wasn't attention-grabbing. It was not bad, just slow and a bit disappointing.
So, overall, I might give this a 3.5 out of 5. With two good acts(opening and ending) , I can forgive the limper middle one. Especially since it didn't take ages.
Gael García Bernal plays an actor that's hooking up with an old friend - now movie director. He want something more and he is making several people included in the mix of lies and tricks. It's hard to hang on at times at there are twins, deaths and trans-people everywhere. Lot's of half explicit nude scenes. The gay kind that is.
I like some of the effects and the production. The script is complicated but all right to handle - almost like a modern Hitchcock. Superb acting and some great scenes, but this twisted film is not on my top five list from the director. It's a bit disturbing and I lack some connection with the characters and some real excitement. Maybe there is a bit too much of everything here - there are loads of subplots. Gael García Bernal makes quite a good looking woman though.
6.5 out of 10 lighters.
Best of the movie would be the twist it came with the final character's introduction and explanation of alternate reality as to the one protagonist was imagining. A way to show the strength of the writer.
An emotional, convincing and disturbing work of art.