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Tacones lejanos 1991
Description: High Heels is a murder mystery comedy centering on flamboyant actress Becky del Paramo and her daughter Rebecca, a tv anchorwoman. After being estranged for 15 years, Becky re-enters Rebecca's life when she comes to perform a concert. Rebecca, she finds, is actually married to one of Becky's ex-lovers, Manuel. The mother and daughter start making up for lost time, when suddenly, a murder occurs...
Released: 20 Dec 1991 Director: Pedro Almodóvar Writers: Pedro Almodóvar (screenplay), Pedro Almodóvar (story) Actors: Victoria Abril, Marisa Paredes, Miguel Bosé, Anna Lizaran Genres: Comedy, Drama, Romance
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See High Heels ~ Tacones lejanos 1 on youtube.

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See High Heels 1991 trailer ~ Taco on youtube.

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Tacones lejanos Reviews:

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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