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All About My Mother





Director: Pedro Almodovar
Starring: Cecilia Roth, Eloy Azorin, Marisa Paredes, Penelope Cruz, Candela Pena, Antonia San Juan



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Rapturously received when premiered at Cannes earlier this year, Pedro Almodovar's All About My Mother is a moving melodrama with plenty of charm and humour. While not all of the latter is intentional, some of it is truly inspired, and All About My Mother will doubtless delight Almodovar fans. Whether it will win over the sceptics remains to be seen.

Manuela (Cecilia Roth) and her teenage son Esteban live alone in Madrid, united by a special single mother-son bond. Esteban is naturally inquisitive about his father who, he has been told by his mother, died before he was born. On her son's seventeenth birthday, after a theatre trip to see A Streetcar Named Desire, Manuela prepares to tell him the difficult truth. But before she has the chance, Esteban is killed in a car accident while seeking the autograph of Huma Rojo (Marisa Paredes), the actress playing Blanche DuBois in the production they have just seen. A transplant co-ordinator by profession, Manuela signs over Esteban's heart so that, in some way, he continues to live on. But finding it impossible to recover from her son's death, she makes a journey to Barcelona to locate her son's father and inform him of Esteban's life and death.

At this point the plot begins to falter and, entering familiar Almodovar territory, spins out of control. Manuela, it transpires, once lead an extraordinary existence in Barcelona. Meeting up once more with her best friend - a transsexual prostitute called La Agrada (Antonia San Juan) - together they befriend the actress Huma Roja and a beautiful nun, Sister Rosa (Penelope Cruz). And Manuela searches for her ex, once also called Esteban - until he became Lola.

There is a powerful story in here somewhere, if only the editor had cut more vigorously, and Almodovar kept a check on an artistry and imagination which force the story beyond belief. Roth is dynamic, but not even she cannot pull off some truly terrible lines and the farcical scene in which she and the garishly made-up Lola share their grief over their dead son. It is Agrada - sassy, witty and unstoppable - who steals the show.

Reviewed by Andrea Henry


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