Everyone’s got mommy problems. Some more than others, obviously.
Manuela (Cecilia Roth), a nurse and single mother tries her hardest to come to terms with the death of her one and only son, Esteban (Eloy Azorin), who was tragically killed when he was struck by a car. For some odd reason, Manuela never got around to telling her son about his father, except that he was dead. However, that was all a lie and after much time of just sitting around and wallowing in her own grief, Manuela decides to get up and leave Madrid and head for Barcelona in hopes of finding Esteban’s actual, real life and hopefully, still alive, father. However, the man that she left behind, eighteen years ago when she was pregnant, is now a transvestite named Lola (Toni Canto). Now, Manuela has to find out just what happened to Lola all of these past years and actually come to grips with where her life has gone, for better and for worse.
All About My Mother is typically considered one of Almodóvar’s best, and with good reason. For obvious reasons, it won him a plethora of awards, especially the Oscar for Best Foreign Language film, among some very stiff competition that year. But despite all of that surface-junk, it’s one of his most tightly-written; his balance of wacky, over-the-top comedy, with heartfelt, somewhat subtle character-drama and obvious melodrama is so perfect here that it almost seems like he’s not trying.
If anything, it’s the one movie where it doesn’t even seem like he was on the set for half of the days, directing and you know what? The movie’s kind of better off for that. There’s a feeling of ease to this, that isn’t found in all of his other flicks; other movies obviously show a tad bit of restraint and relaxation from Almodóvar, but for the most part, they all flirt with it, until they’ve had enough of sitting around and decide to get a little wacky. All About My Mother, in another way, sort of stays the same, practically the whole time and it’s a better movie for it.
Still, it’s an Almodóvar movie through and through and that should never be forgotten.
What it mostly all comes down to is the characters and from Almodóvar, they’re always strong. But what’s always most interesting about his characters is that he’s writing strong, emotional roles for and about women, without ever seeming like he’s looking down upon them, judging them, or simply using them as a prop so that he can get his kicks off of them. Sure, he’s had some questionable issues with sex and gender in the past with his movies, but when you get right down to it, no one is writing strong characters for women like he is and it helps you think of his movies in a far better light because of it. Most Hollywood movies have forgotten how to write for, or about, women in the first place, so it’s a nice bit of fresh air to see someone who knows what he’s doing and how he’s going to go all about it.
And if you need any further evidence of what I’m trying to get across, just look at each and every character in All About My Mother. Sure, a lot of them are goofy and rather over-the-top, but they’re also real, honest, living, breathing and emotional human beings, not to mention, women; the same kind of women who aren’t afraid to lash-out and be emotional every once and awhile, because, well, they’re allowed to. Almodóvar seems to have every character here perfectly written down, even to their smallest, little tic or trait, that it feels like, as time goes on and on, we get to know and love them even more.
It also helps that the ensemble is pretty great, too, as is usually the case.
Of course, All About My Mother features the usual talent we’ve come to expect with Almodóvar, which isn’t necessarily a criticism, as he knows what works for thee ladies, and what doesn’t. Cecila Roth’s Manuela has to act-out in some unsympathetic ways, but because this is, essentially, her tale, we always feel for her; Marisa Paredes’ celebrity-mother character is perfect for her vamping-side, but we also get to see a little more underneath the facade that makes her everyday interactions with those around her, incredibly interesting; Penelope Cruz is here in an early role, showing a certain bit of heart and humanity that I wish more modern-audiences knew her for; and as Agrado, the most fun and exciting member of this cast, Antonia San Juan steals every scene she’s in, showing a great deal of heart, humor and humanity, just about with every opportunity. Watching as all of these characters sit in a room and chat about whatever comes next is enough of a treat, but because everyone is so good and their characters are so vividly-drawn, the movie’s just a blast to watch.
It’s hard to imagine saying that about a drama, but such is the case when you have expert-writing, directing and of course, acting.
Man, why can’t all movies be like this?
Consensus: Smart, funny, emotional, and above all else, heartfelt, All About My Mother is one of Almodovar’s best, but without ever making a big stink about it.
9.5 / 10
Photos Courtesy of: Enter the Movies