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|Index||60 reviews in total|
*** This review may contain spoilers ***
one great movie. The best of almodovar till the date. The performances of banderas and abril are incredible as the script and direction of this crazy, sweet and incredible film of this extravagant Spanish genius. The most amazing thing of this movie is that it makes you wish the villain could win by the end of the movie and you're always rooting for the character of banderas even when you know what hes doing is wrong and that there are better ways to seduce a woman. You can understand him and later on even abril character ends up falling in love with him in own of the sweetest, smoothest and most romantic and passionate sex scenes in the movie history.
Minor Almodovar it may be but this early, black comedy-thriller still
takes no prisoners with it's relentless tale of obsession, (obsession
is something Almodovar seems to be obsessed with). The Hitchcockian
motifs are still there, as are his (too) obvious love of cinema and a
totally exaggerated riot of colour which, in this case, completely
Antonio Banderas is the young 'hero' recently released from a mental institution who kidnaps junkie and porn-star Victoria Abril in the hope that if she gets to know him up close and personal she may even fall in love with him. It's a bit like "The Collector" with the gloves off. There is something faintly Neanderthal-like in Banderas' assumption that slapping a woman around and tying her up is going to make her fall for him and Almodovar tickles our sensibilities by going down a few dark streets other directors wouldn't dream off.
Both Banderas and, in particular, Abril are terrific. When they finally do get down and dirty and do the business there is a genuinely erotic charge in their acting and there is just enough ambiguity in the ending to give the film that extra edge.
As I see more and more of Almodovar, I understand that what I thought
it was his usual madness (especially in his earlier films, like say,
Labyrith of passion) is not present in every film he has made. I
already regard myself an Almodovar completist, as I have seen most of
his films, excluding HIGH HEELS, LAW OF DESIRE, LIVE FLESH and BAD
EDUCATION. And, needless to say I like them all. Most of them, I love!
This one, unlike many others which go on around many different characters and absurdities, has two basic lead actors and a single story. His trademark weird, absurd humour/dialogs is still here, in a few bits, but that's not the thing here. ATAME is not a bad beginning for someone who hasn't seen Almodovar at all. The ending scene, when this beautiful song is sung is wonderfully executed, and it's a magnificent song!
This is a delightful romp full of humor, wit, and plot full of surprises; only the Italians could come up with something so fun and sexy! It is for adults, however, but few films are able to spin sex and psychology into pure comedy and childish delight. The film begins slowly, and once the kidnap begins, the viewer is at first fearful the film will become violent; but the surprise is that the film actually contains good taste and compassion in characters from whom that is the least expected. I do not understand, from a previous reviewer, how a school teacher could show this to students, but I could watch this with my parents and not get embarrassed. This is not for children, it would be for adult children and their parents! I saw this movie twice, and could watch it every few years. It is original, fun, yet tasteful.
Although very beautifully filmed, the film's message that a woman can be made to love a man, by force if necessary, is painful to watch. This theme rivals the "hooker with the heart of gold" myth for the title of Worst Moviemaker's Delusion. Maybe the moviemaker is very self-aware (after all, there is the character of the old director wrestling with his female fantasies) but Almodovar seems to learn nothing from his characters. It's too bad--I like Almodovar--but this movie is inexcusable.
*** This review may contain spoilers ***
As with all Pedro Almodóvar's films, we have a flat, weakly humorous exploration of some sexual situation. And as with all his films, it misses being interesting or charming. That is, unless you do a little work to punch it up. My own method is to fabulate around the Spanish tradition within which he certainly belongs. (I really liked the Spanish reflexiveness in `Lucía y el sexo.')
The raw material for the reflection is deliberately put there: it is a film about a film, where the merging of the two isn't obvious.
Marina is a strawberry blond porno actress with a sister-manager, Lola, and a drug problem. She is lovers with Pepe who lives in a grandly furnished apartment, adjacent to the smaller place he provides for her. Lola and Pepe are pimps of a sort for show business and arrange for her to play in a film. It will be the last film of Máximo. All three are involved in the film: Máximo directs, Lola is the writer, Pepe is the art director, you the audience are the cinematographer. All are infatuated with her.
What we see is the movie that results from the various tugs from each of these. It starts out (well into the film after the madman is invented) with the `reality' prefilming the final sequence. Máximo is being interviewed and the reporter sees an actor, Osvaldo, from real life a fat guy. We later see him in the `movie' as a really well built guy. Marina is directed to act like the reporter when she sees her man. This is the first obvious indication that the film and the film within are to be merged.
`Midnight Phantom' is the movie being made, putting one's heart and genitals on the line. Marina and the phantom tussle with Marina left hanging. Then the real merger of film realities get shuffled. The mental patient, her drug problems (disguised as `toothache'), her unfulfilled sexual desires, and the needs of her film `managers' result in her being tied up/down, which rescues her from her rut.
Its driven home by the mental patient's talent as an artist who `draws' the film -- a drawing of his comes to life to start the movie.
There is a particularly nice shot: after Rocky gets out of the nuthouse/sexual prison, he is on the sidewalk in a long shot that flattens space like one of his animated drawings. A pretty redhead girl skating back and forth is rather poetic.
The self-reference is nearly out of reach as the film masquerades as a sexual comedy. I only know `All About My Mother,' of his other films, but that's exactly the case there as well. This one has redheads.
Ted's Evaluation -- 2 of 4: Has some interesting elements.
I have a VHS copy of this that I have never opened. I don't know why,
but it is one of the very few Almodovar films that I have not seen.
Antonio Banderas already had a couple of Almodovar films to his credit, and he was just 30 in this film.
The object of his desire is Victoria Abril, another Almodovar protégé, who appeared with Banderas in The Law of Desire.
The bathtub scene with the scuba diver is to die for.
Banderas kidnaps Abril and tries to get her to love him. Holy Stockholm Syndrome! Believe it or not, there is only one love scene in the movie, but it was spectacular.
"Tie Me Up. Tie Me Down." tells of a sexy actress with a checkered past who is kidnapped by a sexy guy with a checkered past and held hostage until she falls in love with him. At least that's -his- plan. A romantic comedy by renown Spanish director Almodovar, ¡Átame! makes for a fun watch though it is fraught with goofs, plot holes, and nonsequiturs of the level which can be easily overlooked in a comedy. With good art and technicals and solid performances by the principals, ¡Átame! doesn't quite make the desired emotional connection in spite of a very good love making scene and a feel good conclusion. Probably not a worthwhile watch for the average Hollywoodphile, ¡Átame! should play well with foreign film freaks and Spanish speaking romantics. (B-)
Sorry for the other writer, but Atame is not really a comedy.
Of course, if for you, all has to be funny, don't watch this movie. It's about a soft-SM relationship, between a TV star and her mad-admirer. One of the Almodovar's movie not to excessively Almodovar
After watching Tie Me Up, Tie Me Down I have came to realize how mainstream society believes irrational, criminal and bad behavior is actually good behavior. I became quite disturbed from this movie. While this movie was shot very well and the script was very well written, the acting was superb, the basis of the story was off mark. After reading other reviews stating this movie is misunderstood, blah blah this movie is not misunderstood. I don't see how anyone could rationalize the behavior of Ricky in this movie. Here is this guy that gets out of a mental hospital and proceeds to stalk this girl, break into her apartment, knock her out and eventually tie her up all in the name of love. What's really sickening is the fact that Marina starts to like him. I don't know if this is due to a case of Stockholm Syndrome or what but this movie did not sit well with me. We constantly hear about how guys treat girls so poorly in society but after watching this movie it's no wonder why guys treat girls so bad after watching such distasteful movies such as this one. This movie pretty much states that if you want a girl to like you, you need to physically harm her, treat her like crap and tie her up against her will. I do not recommend this film to anyone that has somewhat of a morale compass.
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