Cassandra, a solitary writer in Barcelona (a US ex-pat) gets a call for help from a stranger - a stylish woman named Frankie - who wants Cassandra to find her husband, so he can sign some important papers. Nothing Frankie says is true: the husband turns out to be a woman, the issue isn't legal papers but a child's custody, and even Frankie's most obvious identity, in red cape and red pumps, is a false front. But Cassandra keeps at it, at first to earn her promised fee, and then to help Frankie, then Frankie's ex, then the child. Along the way, this solitary and somewhat disconnected and bewildered writer frees herself to finish a novel and re-establish a broken relationship.Written by
Features the spectacular architecture of Antoni Gaudi. See more »
[about his date]
You know I never would have guessed it.
That she was a transexual
[Cassandra chokes on her drink]
Not that I'm judgemental mind you, people are all different - I'm bisexual for instance.
[She chokes again]
Oh I'm sorry, being Irish you must not be used to talking about bisexuals, let alone transvestities.
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I was surprised to see how much some people here disliked this movie. It's a nice little comedy with good performances, an engaging storyline and a nice pace. I notice a lot of the criticisms are from people who have a very definite idea of how such a movie should be made. Many are comparing it favorably or unfavorably with Almodovar's films, none of which I've seen, and some with the book, which I haven't read. Taken on its own, it's excellent, and Judy Davis is, as always, terrific (I feel in the same way critics want this movie to be a different movie, they want Davis to be a different character - one complained her hair was always a mess, which was sort of the point - but Davis is perfect for the character that the movie is portraying, even if she's not perfect for that movie some people feel should have been made instead).
It's also nice to enjoy something by Seidelman. She started so great and then got so awful that I gave up on her years ago and haven't even seen anything she's done in years except for one or two TV series episodes, but while this is no Smithereens (I don't think she's capable of ever doing that again) it's nearly as good as Desperately Seeking Susan. Perhaps success destroys Seidelman, and she can only make good movies when she's obscure.
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