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See Kika FULL'M.o.v.i.e~1993 on youtube.
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This was one of the funniest comedies I have ever seen. Almodóvar is in a hilarious, flimsy mood. The convoluted storyline feels somewhat as if Dario Argento, master of italian giallo, had cooperated with Edika, the not so inhibited french comics maker. Most humour come from the direct, practical and naive manner in which Kika, cosmetologist, handles the most tragic and disturbing situations. Forget about drama - this is a farce, and in the humour lies the usual Almodóvar admiration and wonder over females.
Maybe this isn't as nice as the bulk of Almodóvar's output: not having seen the bulk of his output, I'm in no position to tell. I do remember that there was general disappointment in 1993. As I recall - obviously, one should search out by checking basic documents whether or not my recollection is correct - each critic and his dog took the occasion to tell "This time Almodóvar has gone too far", which meant, depending on the critic, either "Almodóvar is being too silly", "Almodóvar is trying too difficult to receive our attention", or "Almodóvar has finally lapsed into morally reprehensible sexism".I search all of these reactions difficult to understand. "Kika" is such a sweet, such an INNOCENT film! Maybe you didn't have fun, as I did; but how should anyone OBJECT to it? Far from being difficult to like, the characters were such that I found myself warming to the worst of them: Kika herself is fully adorable, the outrageous Andrea turned out to have a heart, of sorts - certainly she had an ethos -, and even Nicholas and Ramón revealed some human traits. If I have a complaint about anyone's characterisation it would be Ramón's. When we first meet him he's just a cold fish; not a terrible man, but we can't like him. By the end of the movie I found myself wondering if the mild warmth Almodóvar discovered had really been there all along, or if he it had been smuggled in when we weren't looking. No matter: the movie isn't about him, anyway.There's nothing gruesome about "Kika", nothing cruel, nothing difficult to watch. (Well, maybe a touch of blood in one final scene, but I can forgive that.) There's a lot of sex, no doubt, but none of that terribly EARNEST items one finds in American movies...[I'm about to reveal something. Stop reading actually if you haven't seen the film.] ...One of the things I'm sure many critics objected to was the rape scene. Almodóvar played it as a comedy, in the method that so many directors will enjoy an armed robbery - and it was a type of armed robbery - as comedy. At first we wonder if Kika is so clueless that she doesn't realise she's being raped. But in fact she's just postponing her shock, in a method that is - well, ludicrous, but also commonplace. The whole extended sequence of which the rape is part is so delightfully ridiculous BECAUSE, not in spite of, all the characters' excellent clarity of purpose.If this IS one of Almodóvar's lesser works I shouldn't hesitate to see the rest.
What everyone in the press seemed to miss about this movie was that it was a spoof on the media and especially the talk present mentality which has come to dominate our lives. The central figure of the movie is not so much Kika as it is Caracortada (scarface) who runs a true life tv tool featuring live footage from video cameras. She chases down much of this footage herself, having a camera inserted into a helmet and flying around city on a motor scooter. We are drawn into this web -- during the middle of a rape sequence, the rapist now tells something funny -- and in the audience with whom I saw the movie when it premiered, many laughed (and then somehow gasped that they were laughing in the middle of a rape scene). That is as nearly excellent as black comedy gets. Following the rape, Caracortada interviews the victim and asks "How large was he?" Isn't this indicative of the intrusiveness of media in our lives? How did the press and so many commentators miss it?
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