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Take My Eyes (2003)
"Te doy mis ojos" (original title)

7.5
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Ratings: 7.5/10 from 4,319 users   Metascore: 74/100
Reviews: 27 user | 58 critic | 14 from Metacritic.com

One winter night, Pilar runs away from home. With her, she takes only a few belongings and her son, Juan. Antonio soon sets out to look for her. He says Pilar is his sunshine, and what's more, "She gave him her eyes"...

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Cast

Cast overview, first billed only:
...
...
...
Ana
Rosa Maria Sardà ...
Aurora
Kiti Mánver ...
Rosa (as Kiti Manver)
Sergi Calleja ...
Terapeuta
David Mooney ...
John (as Dave Mooney)
Nicolás Fernández Luna ...
Elisabet Gelabert ...
Lola
Elena Irureta ...
Carmen
Chus Gutiérrez ...
Raquel
Aitor Merino
Francesc Garrido
Javier Batanero
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Storyline

One winter night, Pilar runs away from home. With her, she takes only a few belongings and her son, Juan. Antonio soon sets out to look for her. He says Pilar is his sunshine, and what's more, "She gave him her eyes"...

Plot Summary | Add Synopsis

Taglines:

Donde dice hogar se lee infierno. Donde dice amor hay dolor. (Where it reads 'home' read 'hell'. Where it reads 'love' there is pain)

Genres:

Drama | Romance

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

10 October 2003 (Spain)  »

Also Known As:

Dou-te os Meus Olhos  »

Box Office

Opening Weekend:

$6,440 (USA) (17 March 2006)

Gross:

$25,578 (USA) (9 June 2006)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

Nicolás Fernández Luna, who played the son of the leading couple, is the real life son of co-writer Alicia Lun. See more »

Soundtracks

He Moved Through Fair
Canción popular escocesa
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User Reviews

 
Frank, Classy Woman in Jeopardy Trajectory of an Abusive Relationship
22 March 2006 | by (Queens, NY) – See all my reviews

"Take My Eyes (Te doy mis ojos)" is a frank, classy woman in jeopardy/Lifetime TV for Women film.

A couple of elements raise it above Hollywood's unfortunately already tired treatment of abused wives in such films as "Sleeping with the Enemy" or "Enough", among many others.

First is the superb acting by Laia Marull as "Pilar". Her transformation from frightened mouse to tentative independent to an expressive person with a back bone is riveting. She does look distractingly like Annabella Sciorra, but that means she is beautiful and very womanly.

Second is the emphasis less on the physical violence by an abuser that American films revel in (this film opens right after such an incident) than on the psychological impact, both on abuser and victim. Even amidst strife, this is a passionate couple who were very much in love, though we get hints from the beginning that he was controlling, as in the conversations that include the titular phrase. Unlike Hollywood, her final revenge is not violent but in how she uses those words back at him.

Uniquely, we see the husband (Luis Tosar as "Antonio" looking distractingly like the Irish actor James Nesbitt) as a 360 degree person, with his own family stresses, and not just as the usual evil incarnate. Though we don't see how he got into anger-management therapy sessions for abusers that in the U.S. are usually only a result of a court-order and I couldn't tell from the untranslated credits what experts were consulted for these recreations, they are a fascinating look at an attempt to change abusive behaviors. The shrink finds he has to teach these guys even how to have a conversation with their wives to prevent triggers, let alone what to do when rage starts filling their heads.

Another difference is that while the husband jealously fixates on the possibility of her finding a new lover, a sensitive new age guy character invariably appears in the Hollywood versions (and it was entertainingly non-stereotypical that the Scottish brother-in-law is held up as a prized alternative), the threat to his marriage actually comes from her relationships with the women in her life, from family to friends. Through them she becomes more attuned to humiliation as violence than even her hospital records filled with lied about fractures. It was a bit much symbolically to have her suddenly get into artistic presentations of ancient sexy myths, though it was nice that the credits identified each of the paintings discussed.

While sadly this is a familiar story in filmed outline, the film is continually suspenseful and involving as to what they will do, together and apart.


15 of 21 people found this review helpful.  Was this review helpful to you?

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