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Posts Tagged ‘Bad Education’

I have to admit the possibility that there may be people who have decided to Google for ‘Bad Education Movie’ in the hope of getting access to someone’s considered opinion of the forthcoming Hugh Jackman film (not actually on release yet, I think) – well, sorry, you’ve come to the wrong place. Nor is this the place to be should you (for whatever reason) be interested in the movie spin-off of the sitcom starring Jack Whitehall, which came out a few years ago (the temptation to say that if this is the case, you should maybe rethink some of your life choices, is almost irresistible). Seriously, they ought to do something about people re-using titles on films.

Anyway, the Bad Education we are here to discuss is the 2004 movie from Pedro Almodovar, originally known as La mala educacion. Not that this really does a great deal to eliminate potential confusion, as that’s just a direct translation into Spanish, of course. No Almodovar movie seems to be completely bereft of a certain kind of humour, but this is certainly one of his more serious films: perhaps that’s a big enough point of distinction. It’s not as if this is a film which it’s easy to mistake for anything else, though.

When I was writing about Talk to Her I ventured the suggestion that there was an undercurrent to it which was almost Hitchcockian in its tone and style – almost from the start, it seems that this influence has grown enormously, for the opening credits and music suggest nothing as much as an energetic pastiche of films from Hitchcock’s own late 50s-early 60s imperial phase. It takes a little while for this to show up in the actual story, though. Much of the film is set in 1980, and concerns (amongst others) Enrique (Fele Martinez), a film director looking for his next project. His ruminations are interrupted by the appearance of an old school friend named Ignacio (Gael Garcia Bernal). Ignacio is an actor and writer, looking for work, but he also leaves a short story entitled The Visit with Enrique – apparently it is a sort of roman-a-clef, partly based on their own experiences together.

The film then shifts its focus, apparently presenting the story of The Visit. This concerns fictionalised versions of Enrique (Alberto Ferreiro) and Ignacio (still Bernal), with the considerable difference that the Ignacio in the story is a transsexual nightclub singer, going by the name of Zahara. With the aid of her friend Paca (a brief but very big performance by Javier Camara), Zahara is out to get revenge on Manolo, the Catholic priest who abused her as a boy (the priest is played by Daniel Gimenez Cacho), intent on blackmailing him for the money that will pay for her sex-change surgery.

Obviously, this strikes a significant chord with the real-life Enrique, and brings back all kinds of memories of his childhood friendship – more than friendship – with Ignacio, a friendship which ended when Manolo had him expelled from the school they attended together. He decides to go ahead with the movie, even though Ignacio seems greatly changed to him, almost unrecognisable as the same person…

It all sounds relatively straightforward when you write it down like that, but Bad Education is really far from straightforward in terms of its narrative – I have skipped over some of the many ambiguities and sleights-of-hand in the plot; for instance, it’s not made at all obvious at first that Ignacio and Zahara are both played by Bernal. As the film progresses, it grows increasingly dense and subtle in its storytelling – there are, as you can see, lengthy flashback sequences, and also a film-within-the-film. Elements of these echo and repeat each other, and the line between the two is eventually elided, up to a point. This is a film you do have to give your full attention to, but Almodovar maintains an exemplary grip on what could have been an extravagantly confusing story.

Is it really valid for me to compare it to one of Hitchcock’s entertainments, though? Well, obviously Hitchcock never made a film as graphically explicit as this one, and it’s difficult to imagine him openly addressing material like transsexuality and child abuse, or even homosexuality, in one of his films. But, on the other hand, the tricky and repetitive structure of the film, the eventual appearance of long-buried blackmail and murder, and the fascination with identity – how well can you really know a person? How much can someone change, over time? – are all things one would easily associate with some of Hitchcock’s finest films. Pedro Almodovar has a reputation for making big, sensuous, emotional films dealing with issues of sex and gender, but it seems to me he has all the necessary tools in the kit to be considered a terrific director of thrillers, as well.

Nevertheless, this is one of his darker films. While there are some beautifully lyrically scenes early on, depicting the childhoods of the characters and everyday life in the school they attend, the tone grows steadily more serious as it progresses (Javier Camara’s big comic turn only appears in the early part of the film). There is still humanity in the film – the present-day version of Manolo, when he eventually appears, is a pitiable figure, and we are encouraged to pity him despite his terrible offences – but it is overall less optimistic and warm than in previous films, and the ending is inconclusive and ambiguous. Then again, perhaps there is no other choice here: the film is ultimately about the life-long emotional damage done by child abuse, and the ripple of collateral damage spreading out through the friends and acquaintances of those at the heart of it. Almodovar is too good a director to be excessively on-the-nose about this, but the shadows lie deeply on all the survivors at the end of this film, and the implication is clear. This is another well-acted, well-directed and exceptionally well-written film, dark and complex without feeling excessively grim or heavy: colourful and deft enough to be genuinely entertaining, but still a work shot through with a profound seriousness.

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