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Once Upon a Time In Hollywood
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A well made movie which ask the viewer to get rid of logic in order to get through it
Um filme de certo modo cÃ´mico e, ao menos para mim, mostra que podemos ver graÃ§a atÃ (C) com relaÃ§Ã£o a temas intrigantes e difÃceis de se digerir tal como o amor doentio e obcecado que os protagonistas possuem. O filme retrata basicamente uma das facetas do amor atravÃ (C)s de um lente bem doentia, lunÃ¡tica, mas que na minha opiniÃ£o Ã (C) amor. [spoiler]Antonio Banderas mostra ao longo de vÃ¡rias cenas que ele sofre, apanha, se machuca (em corpo e mente) para ficar com a garota em que Ã (C) perdidamente obcecado. Se, o fato de sua companheira se apaixonar por ele no final, seja por uma "sÃndrome de estocolmo" ou por um amor repentino, Ã (C) difÃcil dizer, aliÃ¡s talvez algo que o prÃ³prio AlmodÃ³var deixou para que os espectadores decidam .[/spoiler]
Ã um filme interessante para aqueles que gostam do trabalho de AlmodÃ³var. Para os que nÃ£o curtem, sinto que nÃ£o Ã (C) uma grande recomendaÃ§Ã£o ou, ao menos, nÃ£o Ã (C) um dos melhores filmes para se comeÃ§ar a ver de sua obra completa.
Like reading a play, bright vivid colors, witty and obsessive love
Greatly underrated in my view possibly because it gleefully mocks respectable thought.
Far less dark than the later The Skin I Live In, though both feature Antonio Banderas as a abductor, in this film Banderas already loves his victim, who eventually fall in love with him in return, and love is the reason for the abduction. There is some darkness, too--the fact that the victim is an addict and the abductor gets beaten getting drugs for her, but there are lighter notes, too, such as the hilarious scene of the victim taking a bath that I thought was just hilarious. Definitely worth a watch, as are most of Almodovar's films.
This was my first time watching a Pedro Almodovar film and I really dug it! Antonio Banderas portrays his character with such menace and heart, so despite some of the things he does to Marina, I couldn't completely hate him. I found him interesting and felt sorry for him in a few scenes. It's a colorful-looking film and I rather enjoyed the central love story. It's erotic, smart, and terrifying at times, I enjoyed "Tie Me Up! Tie Me Down!"
I'm an Almododovar fan, but this misses the mark...
"Tie Me Up! Tie Me Down!" is a love story only Pedro Almodóvar could tell. Dark and unsettling, yet warmly comedic, it is the sort of black comedy he specializes in. I can think of few other directors as capable of turning a sinister premise into something fuzzy and bright, but that's Almodóvar for you, taking the hard way out when he could have gone for the easy.
Why is "Tie Me Up! Tie Me Down!" so humorously macabre, you ask? "Tie Me Up! Tie Me Down!" is humorously macabre because it details a love story between a kidnapper and his victim, a love story not necessarily a result of Stockholm Syndrome but rather a case of eccentric mutual emotional understanding.
The kidnapper, played by a young Antonio Banderas with dedicated liveliness, has just been released from a mental hospital after a long stretch of good behavior - though never delved upon, we decide that he suffers from the same disease that obsessive stalkers do, completely oblivious that the object of their affection isn't interested whatsoever. The victim (a luscious Victoria Abril) is a movie actress trying to overcome her pornographic past. She is connected to her captor because she unwisely had a one-night-stand with him many moons ago; she's over it, but he relives the experience day in and day out. The man is intent on kidnapping her as he is under the impression that, if in captivity, she will learn to love him in the same way he loves her. No way, we tell ourselves. But Almodóvar has other plans.
While "Tie Me Up! Tie Me Down!" is easy to like with its "His Girl Friday" shaded dialogue and colorful performances (I especially got a kick out of Loles León, who plays Abril's talkative sister with feral energy), we're never quite sure what to think of it, as its story is far from plausible and we can never tell if Almodóvar whole-heartedly believes its far-fetched romance himself. Perhaps it would have been better as a black comedy where the main characters don't fall in love, concluding as a tabloid fantasy nice to lap up and not at all manipulative. But "Tie Me Up! Tie me Down!" doesn't quite manage to convince us of its postulation, which is a disappointment considering how good a film it is most of the time.
Everything, from the cinematography to the sets, bear the famed bawdy Technicolor Almodóvar has used repetitively in his films - like the rest, the look alone is enough to draw us into his warped world of cinema. The screenplay is blessed with a remarkable number of piping hot one-liners, and Banderas and Abril, despite being parties to a story that doesn't suit the movie, have crackling chemistry. I wish I could love "Tie Me Up! Tie Me Down!," not merely appreciate it like a streetwalker who can't find the deeper meaning in an art piece. But welcoming black comedy that secretly wants to be light is a hard thing to do - in this particular instance, a short visit is enough.
Almodovar in all his madness and glory has cooked another 'out of the norm' type of story. A young handsome and mentally disturbed man is released from a mental institution after proving he is no danger for society. Soon he manages to enter a film set and meet his idol, played by the gorgeous and far from prude Victoria Abril. Together they will form the most unlikely couple and what started as a kidnapping turns quickly into something else... As always Almodovar is creating a world on fantasy, madness, games and fatal attraction, like only he knows how to do. The film is in the end an awesome and unique piece that really deserves to be seen for it's audacity and it's uniqueness.