Pina Bausch's "Cafe Muller," to Purcell's "The Fairy Queen" is certainly
a "classy" opening for a movie. When I saw "Hable con ella" again, I
realized how much more it is than a kind of intellectual special effect:
it is an integral, significant part of the whole work.

Pedro Almodovar's "Talk to Her," finally opening in the US, is not only
the best film I've seen this year, but it's also among my most memorable
recent experiences in any art form.

Combining brilliant writing, an unconventional and risky but eventually
triumphant "broken-line" narrative, perfect photography, modern dance,
affecting classical and pop music, "Talk to Her" is complex, fascinating,
thought-provoking, heart-warming and satisfying, with a slow-burning
catharsis that may stay with you for a long time.

And, on top of all that, I really like it.

Like it enough to follow the first viewing in London last summer with
another at a San Francisco preview today. What happened at the second
screening reminded me of a Dennis Potter experience: revisiting something
that demands to be seen again ("Dreamchild" or "The Singing Detective")
and discovering a hundred things that went by me unnoticed before.

Such seemingly random scenes as the "Cafe Muller" sequence and Purcell's
music "making sense" a couple of hours later; casual references to people
and events becoming cohesive and illuminating; small roles coming to the
fore in retrospect.

Here comes the deadly question: "So what is about?!" Sigh.

You would be so much better off if you went to find that out from
Almodovar himself.  It is "about" people, both conscious and in coma,
but don't let that fool you.  Just sit back and let their stories come
to you.  The point is not that the film's many surprises would be ruined
if you knew the story (although there is that), but rather imagine if
you had studied the Cliff Notes on "Hamlet" before you saw it for the
first time.  So much better if you do that digest and interpretation
yourself.  "Talk to Her" has the complexity and richness of a stage play,
so don't let sound bites and sensationalist trailers mislead you.

Also, there will be reviews and word of mouth that it's just a weird
movie, not very good.  That's fine.  You will know how much you get out
of it.

The cast, even for Almodovar, who has a special talent for finding
unusual, brilliant actors, is amazing.  Javier Camara is Benigno, the
nurse who cares for Alicia (Leonor Watling).  Dario Grandinetti, from
Argentina, is Marco, a journalist, who falls in love with Lydia, a top
female bullfighter (Rosario Flores).  And that's all I will say.  For
the rest, let Almodovar talk to you.

Janos Gereben/SF
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