Law of Desire

Those familiar with Almodovar's "Bad Education" (2004) will be especially interested in his early treatment (1987) of the same subject. Once again a gay film director becomes sexually involved with a dangerous character played by a reigning stud-muffin---not Gael Garcia Bernal this time but the young Antonio Banderas. And, once again, homosexuality, the Church, modern Madrid, family relationships, transvestism and murder all play a part in the unpredictable plot. The fantasy-flashbacks of "Bad Education" are not present here but there are theater performances that provide their own heightened style. What's more, a number of subsidiary characters (mothers, cops, a doctor) add their quirky input, behaving as if this were THEIR movie and enriching its texture. Additionally, women have a stronger presence than in "Bad Education." Be aware that "Law of Desire" is as sexually explicit as the later film, particularly at the very opening. If memory serves, the English subtitles for the original theatrical release were better (sharper in tone) than those here, But it's great to have it on DVD. (It was previously in an Almodovar collection, but not available by itself.) For those not familiar with "Bad Education," I'd suggest getting both---they make an unbeatable double feature: dark, witty, knowing and obviously the expression of a master film-maker.

This early film is of strong historical significance, which is why I bought it. But I found it uneven, and by the time I was halfway through, I was paying less attention to it. The romance isn't as passionate as it could be, the suspense was predictable, and the terror very muted. Interesting to see Banderas at the start of his career.

Not being able to get most of the Almodovar films on dvd for playing on USA dvd players is obnoxious and the only subtitled vhs tapes you can manage to get are video store throw outs which mercifully appear not to have been rented out much. Why no one wanted to watch them is troubling because his films are marvelous- made by someone who loves women, film, writing, music and who champions those who, in the midst of profound societal oppostion, create themselves and the love they deserve and crave.Law of Desire manages to break my heart and make me feel better about love and lust every time i watch it .When i first saw it, a friend of mine was dying from AIDS so the impact the film has made on me has been enhanced twofold. I try to make everyone I meet watch it and if they do not ' get it' I wonder if they've ever really been in that sort of crazed love that makes all things possible and impossible. As Elvis Costello said, "they say they'd die for love and then they live it out"- here's a story about being able to not live it out.

My first exposure to a Pedro Almodovar film way back about 20 years ago. Antonio Banderas is very young and convincing as a man infatuated with a male film director and his desire to have him and any cost, and the final price he pays for it. The supporting cast that Almodovar creates only adds to the highly charged drama. The over the top Latin drama in some other director's hands would seem ludicrous, but Mr. Almodovar's deft hands tempers this with just the right ammount of campiness! Highly recommended, especially for the people who like movies with interesting stories and NO inane car chases, explosions, cute babies, talking dogs and the usual Hollywood dreck!

Law of Desire is quite possibly the worst of "middle period" Almodovar. Curiously, it was picked by the NYT Streaming column for their 2017 Gay Pride Whatever—which, to the Times, seems to mean when straight guys get off on two chicks making it. Other than Weekend, the best British GLBTQ flick ever made, the Grey Lady appears to be under the delusion that queer cinema = lesbian cinema, which is so seldom true as to be irrelevant. Reportedly, a substantial sampling of lesbians finds hardcore male-on-male sex stimulating. I wouldn't know. But with the exception of rare movies like Lisa Cholodenko's superb High Art that transcend all gender stereotypes, myself, I have yet to talk to the male homosexual who itches to watch two females engage in pornographic sex—a distinctly hetero male pre-occupation w/ ugly and exploitative implications.The chief, perhaps only, possible pleasure to be gleaned from Law of Desire is a very young Antonio Banderas prancing about whilst clad only in tighty-whiteys. (Actually, make that medium-loose white briefs. There might be an insignificant flash of Antonio's bare arse, but a microsecond of the other dude full frontal, but generally, it all plays loike all-around dull, gay-for pay). The movie has precious little of the rough charm of earlier, ultra-low rent Almodovar and virtually none of the bittersweet insight to be gleaned in the virtuoso director's later work with real budgets.This train wreck even has one of those dreadfully dated "one or more of the queers must die" endings. Fie on The New York Times! There are dozens of far braver GLBTQT world cinema achievements from unknown directors in far more need of attention than this mediocre, forgettable Almodovar.Otherwise if Antonio Banderas in his undies is your fixation, Tie Me Up, Tie Me Down is a movie with infinitely more vitality than this turkey.

I have this DVD but I still ordered it for someone else to watch. I love this movie. It's a love triangle with amazing performances by Almodovar's usual cast (sans Penelope Cruz). The music, the casting, the scenery, everything is beautiful. Sad. But it is always sad when love is not reciprocated.

Sensual, raw and provocative. Almodovar is a master at making you feel and emote in his wild and over the top storylines. He has perfected his color palette and music selections. While the plot may seem ridiculous, this movie still makes you dream.

Una de mis consentidas de este maravilloso director creo que apartir de esta obra comenzar a seguirlo, recomendada al 100%

These classic Art House films aren't for everyone. This pre-cell phone gem is from Spanish film maker Aldomovar. And it could well be about his own life. In short it's a drama revolving around the lives of a gay movie/show producer and his transsexual sister/brother. It's billed as a comedy but the laughs are few. Will it look good on your shelf? All it takes is an open mind and a good pair of reading glasses.

This was the film that established Almodovar's reputation abroad, and it has to be said it is a very daring melodrama shot with great verve. The story is tightly wrought, passions ride high, it is very homoerotic, and has a brilliant performance from Carmen Maura as the transsexual Tina, looking after the daughter of her lesbian lover, played by a transgender actor. This is just one of many playful meanings the film has, and it is beautifully shot, very Eighties in terms of clothes and lighting, interiors, the music played in clubs. the prevalence of pornographic comics, even. Every shot is exquisitely set up and lit, and the material is so strong, having a magnificent story to tell which builds and builds, and many passing pleasures along the way. Two standout moments are: Tina going into the church where she had sung as a boy, only to find the priest who implicitly had abused her at the organ, to which she sings along like a penitent Magdalene in full makeup and sexy clothes, painted nails etc - a moment of sheer fabulousness - and the famous scene where she is hosed down in the street and goes ecstatic as the jet of water is directed at her. But Eusebio Poncela is also very fine as the main character Pablo, a gentle film director whose films are a bit pornographic, but is sweetness itself, his lover Juan, another touching but sexually conflicted figure filled in in few brush strokes, and the obsessed Antonio, played by Antonio Banderas, who spends half the film is his underpants and looks very good like this, as well as having a number of steamy scenes the like of which you'd never see in Hollywood. It's not just a question of explicitness; the whole screen is suffused with an erotic charge right from the daring opening scene. Between these four roles, and the delirious emotions on display, it is impossible not to be wholly swept up by this, as long as one has no resistance to the themes, because Almodovar doesn't pull any punches, and the actors really put themselves on the line.

This film is often seen as a complement to Matador (written second but produced and released first): in the latter, Almodóvar writes about the relationship between a man and a woman, which although dysfunctional and ultimately deadly to both, is at least heteronormative. In Law of Desire, he instead writes about a gay male love triangle: also a murder / suicide story, but featuring what has become something of a stylistic signature for Almodóvar: a ciswoman actor (Carmen Maura, in a tour de force) playing a transwoman, and a transwoman actor (Bibí Andersen, akas in only a cameo) playing a ciswoman mother. A great film, very funny in places and very clever. Full marks.

This is basically a gay film, but should be seen by everyone interested in great film making. After a somewhat lightweight, frothy start, the film develops into something very much darker, with fine performances from the leads - particularly Antonio Banderas, who becomes increasingly menacing as it progresses. The picture and sound quality are very good. As an English speaker, I want to have the subtitles but - for world-wide distribution - surely it's best to give the customers the choice, rather than having them constantly on view.If you like Almodovar's work, you won't be disappointed by this.