Film Review: Movie master’s reflective study of ageing film director low on energy in ‘Pain and Glory’

Updated 16 June 2019
0

Film Review: Movie master’s reflective study of ageing film director low on energy in ‘Pain and Glory’

CANNES: One of the most arresting qualities of movie masters such as Pedro Almodovar and Emir Kusturica is their boundless energy. But lose it, and film fans soon notice something is amiss.

While Serbian legend Kusturica still manages to keep his cinema bubbling with life, Spain’s Almodovar – pushing 70 years old and somewhat bogged down by physical ailments – appears to have taken his foot of the pedal in his latest outing, “Pain and Glory.”

The drama, about a film director reflecting on the choices he has made in life as past and present come crashing down around him, competed for the Cannes Palme d’Or and won best actor award for its hero, Antonio Banderas. The Spanish star is an alter ego of Almodovar himself – much like Indian actor Soumitra Chatterjee was of Satyajit Ray.

“Pain and Glory” is a vaguely disguised autobiography of Almodovar, revealing the anxieties rather than glories of the auteur’s chequered career.

His earlier works, such as “All About My Mother,” “Volver” and “Julieta,” were fantastic studies of Spanish society narrated with unbelievable vigor. Who can forget the opening scene of “Volver” in which dozens of widows, including Penelope Cruz’s character, are seen cleaning their husbands’ graves on a windswept morning?

“Pain and Glory” lacks this dynamism and is mostly ruminative.

Banderas plays film director, Salvador Mallo, a step-down role from his usual dashing screen image. Mallo has not made any movies for years but has enough money to lead a comfortable life surrounded by expensive artefacts.

However, he suffers with depression and worries about his headaches, back pain and a tendency to choke on his food. But a chance meeting with old acting friend Zulema (Cecilia Roth), leads Mallo to get in touch again with film star, Alberto Crespo (Asier Etxeandia), after the two had fallen out during a shoot.

When Crespo introduces Mallo to heroin, he remembers an old script titled “Addiction” and asks Crespo to perform it on stage. In doing so, Mallo opens the curtain on a new life.

In a way, “Pain and Glory” talks about how to come to terms with death, but it is also witty and about lovers and mothers.

Almodovar is such a master craftsman that he does not allow his work to sink into self-indulgence. It is a movie within a movie, and a dream that leads to another.

Most importantly, Almodovar could not have found a better actor than Banderas, who transforms splendidly into Mallo.


Sheikha Alyazia’s ‘mishmash’ of ancient and modern

Her “Mishmash Trails” featured cave-like shapes cut in marble, with the treasure taking the form of imagined ancient eastern coins. (Supplied)
Updated 23 July 2019
0

Sheikha Alyazia’s ‘mishmash’ of ancient and modern

  • Inside the Emirati artist’s inaugural solo exhibition in London, ‘I Met a Traveler From an Antique Land’

LONDON: You are searching for treasure. Several potential locations are marked with an ‘x’ on your map. You move methodically from site to site, always to be met with disappointment — never striking gold. Are you, in following trails set by others, missing the treasure ‘hidden’ in plain view?

This is one of the conundrums posed in the artworks of Sheikha Alyazia Bint Nahyan Al-Nahyan, whose inaugural solo exhibition in London presented a thought-provoking range of work fusing the ancient past with modern life.

Her “Mishmash Trails” featured cave-like shapes cut in marble, with the treasure taking the form of imagined ancient eastern coins, reflecting Arab, Roman and Phoenician influences. She described the coins, embedded in the marble, as symbolic of the great treasures buried in secret locations that were sought out and fought over by many. 

Al-Nahyan named her exhibition — held at Pi Artworks from June 25 to July 7 — with the opening line of Percy Bysshe Shelley’s famous poem “Ozymandias”: “I met a traveler from an antique land.” (Ozymandias is the Greek name for the Egyptian Pharaoh Ramesses II.)

Mishmash Dirham. (Supplied) 

The poem, published in 1818, imagines a meeting between the narrator and a traveller who describes a ruined statue lying in the desert. The description of the statue is a meditation on the fragility of human power and on the effects of time: “My name is Ozymandias, king of kings/Look on my works, ye Mighty, and despair!/Nothing beside remains: round the decay/Of that colossal wreck, boundless and bare/The lone and level sands stretch far away.”

“Maybe a positive thing from looking to the past is that it proves it is only human to repeat the mistake and the lesson,” Al-Nahyan told Arab News. “Studying the past is a realization of human nature, individually or in groups, right or wrong. This natural feeling of connectivity is something I usually aim for.”

There is humor in some of her work — particularly the depictions of old commercial airline advertisements from the 1950s and 60s with ancient figures superimposed in the frames. They certainly give the viewer pause for thought about how much our world has changed in the short time since air travel became widely available.

The exhibition’s curator, Janet Rady, said of Al-Nahyan: “She has been practicing art from a very young age and is self-taught. She is incredibly talented, and you see this in the wide range of her work, which uses all sorts of different media. I can’t necessarily call her a pop artist or a collage artist or an installation artist; she is in fact all of these things, but it is the concept behind her work — connecting the past with the present — which is important.”

The UAE’s UK ambassador, Mansoor Abulhoul, was present at the opening and he particularly admired Al-Nahyan’s works based on the classic wooden board game Carrom paired with a modern video game.

Carrom Station in Motion. (Supplied) 

“I first played Carrom with my cousins as a boy, and she has combined it with modern computer games, which is very creative,” he said. He pointed out that her innovative work ties in well with the dynamic of the UAE.

“Next year we have EXPO 2020, with its theme ‘Connecting Minds, Creating the Future.’ It’s very much about our roots and how we take them forward, how we develop the mind and global cooperation,” he said. 

The exhibition included a short clip from Al-Nahyan’s upcoming film “Athel,” written by Al-Nahyan’s sister, Sheikha Shamsa. It centers on a strange encounter in the desert between a pre-Islamic poet and a modern-day TV presenter. “Athel” is set for release later this year and stars Hala Shiha and Mansour Al-Fili.

“The idea behind it all is taken from the tradition of Arabic poetry — its wisdom and, sometimes, risks,” Al-Nahyan explained. “And ending with a realization of one tribal law putting redemption and family before all.” She added that there are some “light-hearted” moments in the film too.

Arabic poetry is an ongoing inspiration for Al-Nahyan’s work, adding another layer of meaning to many of her pieces.

“The Arabic language is poetic, and Arabs and other cultures around the world have documented their lives through poetry,” she said. “So, for example, when tackling the topic of what is considered treasure, we found different meanings in various verses. Like when (pre-Islamic poet) Zuhair Bin Abi Salma refers to glory as the only true treasure.”

There is a much to absorb and reflect on in this exhibition which opens windows into many facets of Arab history and culture and poses universal questions about humanity and what constitutes real treasure.