See High Heels ~ Tacones lejanos 1 on youtube.
See Fiesta de Tacones Lejanos en e on youtube.
See Luz Casal - Piensa En Mi (Pedr on youtube.
See Tacones lejanos 1991 FuLL Movi on youtube.
See Tacones Lejanos - Plaza del Al on youtube.
See Tacones Lejanos - Un pendiente on youtube.
See High Heels 1991 trailer ~ Taco on youtube.
See Tacones Lejanos - Rebeca se en on youtube.
See Tacones Lejanos - Confesión en on youtube.
See Высокие каблуки (Tacones lejan on youtube.
Description: Nina Duane (Norma Shearer) is a criminal lawyer whose gender was professionally resented by Philip Barry (Conrad Nagel), the District Attorney. She wins acquittal for man-chasing widow Mary Booth (Mary McAllister), then defeats her in romancing the D.A.
Description: Magic Hour is about isolation vs intimacy. Grey (Chloe Sevigny) is married and living in a home that is bathed in beauty and warmth. But, she is imprisoned by her own isolation. Los Angeles reinforces and adds to her stagnation, but the inability to connect lives inside of her. Her isolation is such that she can only launch up to her husband when they are separated by a telephone. The reveal of this short vignette is that her husband has been right outside, on the another side of the wall, the entire time and she knows it.
Description: Shy countryboy from Itu (a city in Brazil where everything is unusually big) is invited to work in the house of a rich woman, who ends up discovering the boy's hidden (and big) qualities...
Description: When the co-owner of a secretarial school visits a magazine editor to search out why he runs through secretaries, she's mistaken for an applicant. Drawn to him, she accepts the position.
Description: In London a young lady meets a homeless and apparently penniless Russian prince. She introduces him to her middle-class Fulham family and he moves in. It turns out he still has a number of diamonds given him by the last czar, and he is persuaded to begin selling them. The resulting money, and his princely notoriety, later cause changes in everyone's lives.
Description: Larry Poole, in prison on a false charge, promise an inmate that when he gets out he will look up and support out a family. The family turns out to be a young girl, Patsy Smith, and her elderly grandfather who need lots of help. This delays Larry from following his dream and going to Venice and becoming a gondolier. Instead he becomes a road singer and, while singing in the street, meets a cute welfare worker, Susan Sprague. She takes a dim view of Patsy's welfare under the guardianship of Larry and her grandfather, and begins proceedings to have Patsy placed in an orphanage.
Description: Twice Vincent thinks he has found the girl of his life. Twice his ideal girl left him for the same man: Denis. Actually Vincent is pursuing a satisfied love affair with Anna, but he fears that history is about to repeat itself. He tries to understand his adversary. Just what is it about him that makes him so irresistible to the opposite sex - his taste in gaudy shirts or the fact that he teaches wrestling as if it were a philosophy?
Description: Gaspard Dassonville may be 63 but he stubbornly refuses to present his age. A well-known tv producer, he amuses himself with girls who are half his age, and life has never felt so good. Then, one day, his age catches up with him with a vengeance, when he is forced to take care of his elderly father Hubert. An indomitable oldster, Hubert later manages to unsettle his son’s illusory youth, but things take an unexpected turn when a care assistant with a colourful imagination comes between them...
Description: Biff and Jeff, two American G.I.'s on furlough in Australia during The Second Globe War, are enjoying their time the method most troops on leave do. When they meet the pretty Joyce, however, they both fall head over heels for her, and begin competing for her attentions. As their R&R time starts to run out, the schemes they every come up with to victory her affection and foil the other's plans to do the same become more and more outrageous.
Description: Based on the novel by Stanislaw Lem (Solaris). The main character, race vehicle driver Ryszrd Fox, is involved in many vehicle accidents. After every vehicle ruin he gets a transplant for one or other internal organ. After a while there is a question: Who really is Ryszard Fox?
Description: Lovestruck: The Musical: Says the storyline of Harper (Jane Seymour), one of the greatest dancers to hit Broadway. But an injury caused her to leave the spotlight, become a choreographer, and raise her daughter, Mirabella (Sara Paxton). When Mirabella, the star of Harper's next large production, decides to quit the present to receive married, her mother is determined to place a stop to the wedding and present Mirabella that she cannot give up her career for love, especially to marry playboy Marco (Alexander DiPersia).
Description: Dass specialises in tiny time kidnapping and has his own set of rules. The basic and most necessary among them is not to receive involved with influential people. Three jobless youngsters meet Dass and the four take up an assignment for a hefty sum that throws away this basic rule and end up being chased by a dreaded policeman.
Description: A fellow in a wide-brimmed hat, with a willowy stick for a rod and a baited hook, sits down on a plank hanging over a bridge above a stream. He sticks the rod under his seat and picks up his bottle to take a swig. Behind him creeps a joker who removes the huge flagstone that's holding the fisherman's plank in zone (IMDb)
Description: A storyline about a tiny man who grows a pair of wings on his back, giving him the appearance of an angel. The man draws the attention of his community including doctors, scientists and schoolmates. The wings are surgically removed but eventually they grow back.
Description: Short comedy which posits that in a hundred years men's styles will revert to Regency garb, and that there will be a finished gender role reversal, with husband Clyde Cook staying home alone while wife Katherine Grant goes tomcatting around town.
Description: Early no budget experimental Super-8 short movie made by Buttgereit in just one day in 1982. Nazi leader Adolf Hitler has survived the war, holed up in his bunker. There, he re-created his former wife Eva Braun as a Frankenstein monster, along with a “Germanic breeding bull”(played by Buttgereit). With the support of these Nazi-zombies, he wants to take over the globe again. But as later as the creatures awake, they tear their maker to shreds. Much fun and gory effects!
Description: Charlie is the nice divorce attorney, in demand by all girls wishing to shed their husbands. While explaining to one girl how to receive a divorce by getting images in a compromising situation...
Description: This fascinating series details Maximum himself, filmed in live action, sitting at a drawing board and concocting journeys for his star performer Ko-Ko the Clown. Maximum is supposedly the guy in charge, and he takes sadistic glee in putting Ko-Ko through different forms of hell, but the clown usually wars back and sometimes gets the greatest of his Uncle Max. FADEAWAY elevates this charged relationship to fresh heights (or depths?) of nightmarish surrealism; it's also one of the most enjoyable Inkwell cartoons I've seen to date, packing lots of imaginative, unpredictable twists and turns into an eight minute running time.
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It might seem wonderful to trust actually that in the early 1990s Pedro Almodovar, actually firmly one of the nice directors, was thought to have lost his way. The movies had become excessively formal they said, squeezing out character, comedy and narrative; the sexual daring had stepped over the line and become gratuitous and nasty - there is one sequence here in which a rape is treated as comic, becomes enjoyable for the victim, and produces a redemptive conception. With movies like this and 'Kika', Almodovar was accused of believing his own hype, of taking the grand claims of auteurism too seriously, and forgetting about the things that had made him precious in the first place, the audacity, the iconoclasm, the fun.Now we can appreciate 'HIgh Heels' as a dry run for his masterpiece, 'All About My Mother', with which it shares some startling similarities - the daring colours, the rich compositions, the masterly camerawork; the central parent/child relationship; Marisa Parades as a performer; the themes of identity and imitation. But, while hugely flawed, 'Heels' is also an entertaining movie in its own right, full of (naturally) astounding acting, perverse plotting and a gloriously full, melodramatic score.What hampers the movie is its reliance on genre. Although ostensibly a typical Almodovar melodrama, visualising the emotional and sexual lives of his female characters, the plot is underpinned by a murder mystery. His remarkable 'Live Flesh' shows how category can be used for complex, non-generic ends, but he hasn't quite got there with 'Heels'. The crime storyline is helpful as a springboard, offsetting and bringing different crises and themes together, but just as the movie is about to hit an emotional crescendo, it is weighed down by the need to tie up loose plot ends, so that a climax that could be moving and cathartic ends up in a grotesque haggling over guns and fingerprints.None of this is thematically irrelevant - the characters are as emotionally trapped as they are by generic circumstances; Paredes claiming Abril's murder, her transferring her fingerprints on the murder weapon, her dying for her daughter's sin in a religious parody, explicitely revealed in the final composition, framed and coloured like a sacred painting, all form part of the film's variations on family, the past and present, tradition and individuality, responsibility, anti-Oedipal struggles, and, especially, imitation, this latter embodied in the figure of the Judge, a boy representing a monolithic institution, run by boys (while the girls languish in prison), who is in fact three (or more) people, his very existence a rejection of dogmatism, of the stable, certain, repressive - in the end he will marry and (unwittingly?) shield a murderer. His imitation of Paredes mirrors negatively her daughter's feelings of inferiority, that she is a terrible pastiche, can't even imitate her as well as a drag queen. This theme of artifice, visualised in the sets and colours, in the mirrors and reflecting glass that splits characters into multiple versions of themselves, does not recommend the globe is fake, but that folks have so many complex, often contradictory emotions and desires, that they cannot possibly be contained in one, whole, identity; single identity is here equated with death, in the situation of macho reactionary hypocrite Manuel. Truth even manages to subvert the fabrications of the media, with Abril's on-air confession, although its status as truth is automatically made suspect (anything told on telly couldn't possibly be true, should it?).The movie is full of unbelievable flourishes, in particular the musical sequences, a thrilling dance stage in the prison, heartbreaking torch songs at moments of drama-overspilling crisis. In every individual scene, Almodovar's control of all his technical softwares is faultless. Place together, though, and the thing doesn't seem to cohere. It gotta have been the script.
I like the movies made by director Pedro Almodóvar and 'Tacones Lejanos' ('High Heels') is no exception. Even his lesser movie ('Kika') have something to enjoy, most of all because they are so very various from another movies you have seen. Like a Tarantino-film, an Almodóvar-film is sort of like a category on itself. Although Almodóvar reached greatness with 'Todo Sobre Mi Madre' and especially 'Hable Con Ella', his earlier movies like 'Mujeres al Borde de un Ataque de Nervios' and this one are a lot of fun. He mixes so many categories here, uses symbolism in such an effective way, the least thing it does is being original. I guess there is nothing wrong with that.The storyline involves a daughter Rebeca (Victoria Abril), her popular mother Becky (Marisa Paredes) who returns to Spain after fifteen tears, a murder that should have been committed by Rebeca, Becky and a third suspect, Judge Domínguez (Miguel Bosé) who is on the case, and a lot of colourful helping characters. I should say you more but the plot is not really the trouble here. Although this movies sounds like a drama, maybe a detective or a thriller even, it is closer to a comedy because of the method Almodóvar handles the absurd situations. There is a stage where Rebeca, an anchorwoman, says something about the murder where she herself is one of the suspects. Next to her sits a girl who does the news in sign language. The entire scene, which is dramatic in what it says us, is one of the greatest moments of comedy I have seen.Of course the themes here are really dramatic. Not only we have the murder, we also have Rebeca who has wanted to impress her mother her whole life. It is just that Almodóvar creates a globe that reminds you of a soap opera that can bring comedy out of each dramatic event. That his movie is more serious than you might think is proved by the symbolism he uses. Scenes where Rebeca is temporarily in prison present her in a symbolic method how she feels. In other pretty stage we see Rebeca driving her car, but it is the wall on the background that draws her attention. It is like her whole life is written on the wall. Almodóvar who loves to test bright colors finds an effective method here to test them, representing the state the hero is in. It is not only effective it is quite pretty to look at as well.
Nice items here from Mr Almodovar, with Victoria Abril in full effect. The effect is a technicolour rollercoaster of a film. And they all break into song and dance too, method before Woody Allen tried it.Strange that this movie is so tiny shown, given the popularity both of the earlier "Women on the Verge..." and the newest "All About My Mother". If you can catch it at the cinema, all the better because the pace and colour is quite dazzling.
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