ADORE – In Pain and Glory, which competes in Cannes and theatrically on Thursday, Pedro Almodóvar draws on his personal story to build a bitter-sweet comedy exploring the mysteries of artistic creativity.
– Jerome Vermelin
Pedro Almodovar has always embodyed his films in one way or another. By their taste for the scandal, their hedonism, their tenderness too … The child of Moovida is a hero who often said in filigree by their characters as extravagant as they are. But no one ever seemed more like a self-portrait than "Pain and Glory". Judge yourself: Salavador Malo, a smart anagram, is a renowned director who is not inspired. His repeated physical sufferings, the gravity of a celebrity, the same thing of the past, led him to a dead end, from which he would appear thanks to a series of meetings, intimate and professional, sometimes both.
The colorful clothes, the gray beard and the hair in the battle. Salvador Malo immediately thinks of Pedro Almodovar. Except that he has been interpreted by Antonio Banderas, his beloved comedian since 1980. Before going to La Piel Que Habito, in 2011 the two men were a little lost. Both Salavador Malo and Asier Exteandia, an interpreter of one of his most famous films, is approaching thanks to the invitation from Cinémathèque de Madrid. This is the beginning of a play on slopes – and mirrors – because Pedro Almodóvar organizes them better than anyone else.
Salvador Malo plays wild with his personal assistant and trades with heroin antidepressants to cure persistent discomfort as an unpleasant headache. When he falls into his sleep, sometimes without warning, he lives again in his modest childhood with a loving mother, embodied by Penelope Cruz. Again, the spectator wonders again. Is this an interpretation of the author's own youth of "Volver"? Or a fantastic version of the image of this illiterate mason, whose beauty is upsetting a little Salvador? Here everything is interwoven and merged to form a delicious metaphor for artistic creativity.
Far from the rage of his early years, his memoirs – and his secrets – near his pen, Pedro Almodovar has created love for the bitter-sweet comedy, whose poetic stunts and cold feelings are enjoyed thanks to the precise setting. , without undue effect. And the outstanding performance of Antonio Banderas, who frankly has never been so good. If the director still proclaims Palma, damned like him, it's hard to see how the award for interpretation at the 72nd Cannes Film Festival can escape his old traveler. Do we take the bets?