Matador (1988)

Matador is an early Almodovar work that explores the relationship between sex and violence through the medium of bullfighting. It follows a love quadrangle between a retired matador, his repressed student, the matador's lover, and the student's lawyer, as a series of murders takes place in Madrid. Dark comedy ensues in the midst of murder investigations and extremely loud eighties fashions.The performances make this decidedly odd film work. Assumpta Serna is great as the lawyer, while Antonio Banderas makes an early appearance as her client. Carmen Maura also has a small role, even though her character is somewhat lacking in development. The characters remain convincing even as the plot spins into the out right bizarre.Some viewers might complain that the film's explicit sex and violence make it little different from an exploitation film, and indeed it opens with a character masturbating to a slasher movie. Furthermore, its commentary on sex and violence at times seems pretentious. However, the film is far more creative and well made than any exploitation film, and is well worth your time.

Essentially seen by many as a warped sex fantasy that uses the codes and conventions of the detective thriller to disguise a darker, more psychological film about the wayward perversions and sinister desires of a seemingly affluent area of contemporary Madrid; Matador (1986) can also be seen as a not-so-subtle comment on the nature of modern-day relationships, aspirations and obsessions in a meta-textual form that makes continual use of its titular, bullfighting motif. Although it does have some slight thematic problems, particularly in terms of the overall tone of the film and eventual motivation of the characters, it is, nonetheless, one of Almodóvar's most interesting and perplexing films of this particular period; featuring a refinement of many of his earliest interests and characteristics from films like Dark Habits (1983) and What Have I Done to Deserve This? (1984), as well as being the film that signalled the move into the second phase of his career.As the implications of the title would suggest, the film's narrative is bolstered by numerous references, both spoken and visual, to the obvious role-play and iconography of the bullfight. It is also a film about violence, and the sexuality of violence; an uncomfortable idea that is reinforced by the film's provocative opening sequence, in which we find the central matador of the title, Diego Montes, masturbating to violent scenes of exploitation cinema. The scene establishes the nature of the matador, both as a character and as a social phenomenon, as well as introducing the link between sex and death that will come to form an important thematic strand to the narrative. As the story progresses, the mechanisms of the drama conspire to throw together two separate characters that come to complement the unspoken desires and murderous lust that they seemingly share with one another, with the eventual courtship and inevitable seduction presented by the director as a surrogate bullfight in its self.Where the film falls apart slightly is in the presentation of the character played by Antonio Banderas, a hyper-sensitive, implied homosexual who idolises the matador to the extent that he actually attempts to rape his young, fashion-model girlfriend (an act that eventually leads him to confess to a string of serial killings as a result of his mother's enforced, catholic guilt). It is a complex character, impeccably performed by the young Banderas, but his appearance ultimately sends the film off on a tangent that detracts from the central crux of the drama. Though the inclusion of this subplot does allow Almodóvar the chance to make a satirical comment on the nature of everything from fashion, to religion, sexuality, etc, these themes often feel like they've been handpicked from a completely different film, not always complimenting the central story, and too often leading it in directions that in the end feel unfinished or slightly unformed. Many of these loose ends can be glossed over, while some (the last minute implication of "second sight" as suggested by a solar eclipse) really seem to come out of leftfield.Nevertheless, these are minor criticisms that don't necessarily destroy the ultimate intentions of the film - which really only become clear in the final scene - or the fantastic direction of Almodóvar and the performances of his cast. Although Matador certainly has its flaws (not to mention its detractors), it is, in my opinion, a fine little film and one of Almodóvar's most original and audacious creations. The performances are all incredibly committed, including the central pairing of Assumpta Serna and the late Nacho Martínez, as well the fine support from Banderas, the gorgeous Eva Cobo and Almodóvar regulars Carman Maura and Eusebio Poncela; whilst the central idea behind the script and the bold stokes of the director's intuitive grasp of the various film-making processes further refines and develops a number of themes that have come to be at the forefront of Almodóvar's career for the last twenty-five years.

This 5th feature of Almodovar is one of his best (along with Labyrinth of passion & Kika) as far as I am concerned, and if not his best then for sure his most provocative flms. As usual, Almodovar explores some of the darkest sides of human sexuality, and deals with perversity as dealing with any every-day life subject. For once more, the notorious film-maker, at great shape, entertains with his trademark raving, hilarious, politically incorrect dialogs, pace and style and while dealing with dark (necrophilia) or serious (religious oppression) subject matters, it manages to be very funny and entertaining. What's great with Almodovar is that you simply CANNOT label his films. Is it comedy? nope. Is a thriller? nope. Is it a crime film? nope. This is Almodovar, so all pretenders go see another million dollar US product . But to all the admirers of unique and original films, this is definitely recommended, if you can tolerate with some weird humour, a bit sexy visuals and nudity and some violence. Matador is ART!

SPOILERS AHEAD!!! WATCH OUT!!!Incredibly dark comedy/drama. Diego (Nacho Martinez) is an instructor of the art of bullfighting. He also has a thing for death. It seems that he can't snap out of the state of mind he's in ever since he was gored by a bull years ago when he was a celebrated matador. This also causes a nasty habit: murdering women and having sex with the corpse. His student, Angel (Antonio Banderas, before he went Hollywood), is unhappy with his life (Constantly berated by a very religious mother, who thinks her son is evil), soon confesses to a series of murders. Into the picture comes Maria (Exotic Assumpta Serna), an attorney who thinks that Angel is innocent. And she should know: She's responsible for killing young men in the act of passion! It seems that she has a thing for death, too. It is only a matter of time when Diego and Maria meet, and when they do...things get VERY interesting!Pedro Almodovar slips into the dark side with this film, and a lot of scientific overtones (Angel has some sort of psychic ability, characters talk about types of mushrooms and a solar eclipse features in the film). Those that are want to get into the films of Almodovar may not want to start with this film (Try "Women On The Verge Of A Nervous Breakdown" instead.), but you don't want to ignore this film. Serna and Martinez worked very well together and I was deeply saddened when I heard that Martinez died in 1996. He was a talented actor and gave this film its soul. It's great that the DVD of the movie is now available, because those that are curious can watch it. The colors are beautiful, and it's just a wonder to see. Not recommended for anyone under 17 due to some intense sexual scenes.