by Joey Guerra
Daily Cougar StaffThe latest film from Spanish director Pedro Almodovar, The Flower of My Secret, opens with a scene that initially seems completely unrelated to the movie's main story line. A grieving mother is informed by doctors that her son has died in a motorcycle accident. As the doctors make a plea to use the boy's organs for other patients, the mother refuses to accept the situation.
This strange introduction, which may jar the viewer's understanding after it passes without a trace, serves to set up the movie's main themes: death, grief, acceptance and continuation of life.
We quickly learn that the situation is a seminar on organ donation, directed by Betty (Carmen Elias), a psychologist. Betty's work is interrupted by the arrival of her best friend, Leo Macias (Marisa Paredes).
Leo is a woman on the verge. Faced with the death of her marriage, Leo is in a state of grief, refusing to accept the reality of the situation. She breaks down when she cannot remove a pair of boots given to her by her husband, Paco (Imanol Arias).
What's worse, like the grieving mother in the seminar, no one is willing to explain to Leo the state of the situation which she is in so blindly.
Betty is distanced, hiding a secret she shamefully cannot reveal. As for Leo's family, her mother (Chus Lampreave) can only offer support, and her sister Rosa (Rossy De Palma), is in a situation of her own.
Adding to the strife is Leo's career as a writer of romance novels under the name Amanda Gris. Because of her current state, she is unable to deliver "pink" novels, as she calls the Harlequin-type books she writes. "Black" novels are all that appear on paper, tales of murder and grim reality.
After Leo's publishing company threatens to reveal her identity, she goes to El Pais, a paper run by Angel (Juan Echanove), a film buff who drinks too much. Leo reluctantly joins on, but her problems have just begun, and the "flower" she hides begins to seem like only a minor problem.
Alomdovar has created a compelling drama, chronicling the reality of Leo's situation. Unlike earlier films, there are no distracting sidebars, no outlandish characters, not even a gratuitous sex scene. There is only Leo, her life and the struggle within herself to rise above her turmoil.
Almodovar incorporates strong supporting players dealing with their own sufferings who enhance the story, giving it realism. Lampreave is superb as Leo's mother, displaying worry and despair over her daughters' situations. Her dealings with each are different, but she loves them in her own motherly way.
Palma, who has graced all of Almodovar's films, provides comic relief and her trademark edginess as Rosa, Leo's sister. She is a brash woman, but cares deeply for her family.
Also notable are Manuela Vargas as Leo's dutiful, kind housekeeper with aspirations of her own and Joaquin Cortes as Antonio, Blanca's dancer son who dreams of a better life.
The movie, though, belongs to Paredes as she brings more than enough capability to the role of Leo. The fear, heartache and eventual realization Leo goes through are captured perfectly by Paredes, who emits an exhausted sensuality throughout the film. Her possible romance with Angel is something new, yet it frightens her. She is unsure of how to deal with another man and unsure of her position as a woman as well.
Almodovar directs the movie vibrantly, using striking imagery and phrasings that add to each character. There is a realistic quality to the film that was not present in Almodovar's last effort, the unfocused Kika. Here, everything is perfectly grounded, from the arguments between Rosa and her mother to Leo and Angel's sweet awkwardness when they are alone together.
Echanove, as well, is right on as Angel, a would-be suitor who ends up providing much-needed support to Leo. He helps her realize her worth once again, and in exchange, she offers friendship.
We realize that Leo's situation, however horrible, is something that must be endured to reach a logical conclusion. It's about life, relationships and about the support we can find among the most unlikely of people.