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Matador (1986) (1988) Review
...."Matador" goes places that the typical Hollywood fare will never go.Let's see "Matador" in DVD. Let's see if I could titulate you with my interpretation of the story.
Diego is a matador unable to get back into the ring after having been impaled by a bull. He, therefore, is reduced to teaching the arts of bullfighting to younger folks...including a fan, Angel, (Banderas) who is a little twisted. See, he can't stand the sight of blood...like what's produced from a successful bullfight.... His Ma may have ruined him for life and he has these intense visions/dreams of reported murders thru-out the city. He figures he must be the murderer. But he is not. Still, he confesses and turns himself in. His story line is one of several here...
Meanwhile, we find out that the lawyer assigned to Angel, Maria, (Serna) has a penchant for death and eros....she is like what you'd imagine a black widow would be. And, in the height of passion, the stickpen.
But see, Diego also is a little twisted. "To stop killing is to stop living", he says, and he has his own passion and murder psychosis going. As with Maria, Diego searches out for the ultimate sensual experience and he goes through young women as if he's objectified them like he has bulls during a bullfight....but...!
Maria meets Diego. And it is like they have been there before and they realise what each has done and it just is as it is and what must be done must be done...it's like Peck and Jones in that "Duel in the Sun" moovy they end up both being hypnotised by.
And the ultimate love, the ultimate sensuality, is the unquestioning willingness to die for another. To me it is why "Matador" in all it's perversity and darkness, turns out to be an unforgettable and beautiful film. What will you give to have love and passion like that...?
Now, I gave you the thumbnail sketch of the story to get you to see when you see the moovy, no one can quite capture the true essence of an Almodovar. You really have to experience his films. Thru out "Matador" (as well as many in his great catalog) there are images and insinuations, symbolism and absurdities that are going to stick with you loooong after you've viewed the film. The cinematography is stupendous, the mood just takes you. Initially, there is a disconnected feel, but it speeds up and there are scenes and edits you're going to rewind to and since it is subtitled in Spanish--unless you speak the language--you find yourself rewinding trying to catch the dialog, as not to miss something. This is reminescent of the Sharon Stone/Micheal Douglas piece, and of Cronenberg's rendition of "Crash." Also the absurdity reminds me of whenever "The Sopranos" go for that dark and funny thing...
Try an Almodovar this weekend...
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