Or is it? All the movie's secrets are rolled out in a narrative design that is exuberant and elegant. In its vividness and intense, almost neurotic sensitivity to colour, particularly the colour red, it also looks like a Hitchcock thriller. There is a wonderful overhead shot of Raimunda washing up a bloodstained knife in the kitchen sink. On the left of the screen, we see the implement of violence in the plastic bowl above the soiled plates, and on the right there is the glistening crown of Raimunda's glorious raven hair and her magnificent cleavage - the size of which her mother is later wonderingly to remark upon, and in which nestles an enamel miniature of the crucified Christ.
The image goes beyond camp, and certainly beyond desire, into a feminised world in which work, survival and family love are paramount. Raimunda hides the corpse in the deep-freezer of a nearby restaurant with an absent owner, Emilio Carlos Blanco. When members of a film crew happen upon the restaurant, Raimunda strikes a deal to cater for them, and finds herself back in the restaurant business.
Raimunda reveals to Paula that Paco was not her biological father, and promises to tell her the whole story later. Agustina is diagnosed with terminal cancer and goes to Madrid for treatment. Raimunda visits her in the hospital. Agustina asks Raimunda if she has seen her mother's ghost. Agustina hopes that the ghost will be able to tell her about her own mother, who disappeared three years before.
While staying in Sole's apartment, Paula meets her grandmother's ghost and grows close to her. The next night, Agustina comes to the restaurant, and Raimunda reveals two startling secrets: her father and Agustina's mother were having an affair, and Agustina's mother disappeared on the same day that Raimunda's parents died. Sole tells Raimunda that she has seen their mother's ghost, who is in the next room with Paula.
Irene admits that she did not, in fact, die in the fire, and reveals the whole truth. The reason for Raimunda and Irene's estrangement is that Raimunda's father sexually abused her, resulting in the birth of Paula; thus, Paula is Raimunda's daughter and her sister. Irene tells Raimunda that she did not know about the abuse until Aunt Paula told her about it, and never forgave herself for failing to stop it. Irene explains that she found her husband in bed with another woman and started the fire that killed them both.
It seemed impossible not to mention that shot in an interview at Cannes Film Festival where the film won honors for best script and ensemble cast. Almodovar nodded happily. What is most unexpected about "Volver" is that it's not really about murder or the afterlife, but simply incorporates those awkward developments into the problems of daily living.
His characters approach their dilemmas not with metaphysics but with common sense. A dead woman turns up as a ghost and is immediately absorbed into her family's ongoing problems: So what took her so long? It is refreshing to see Cruz acting in the culture and language that is her own. As it did with Sophia Loren in the s, Hollywood has tried to force Cruz into a series of show-biz categories, when she is obviously most at home playing a woman like the ones she knew, grew up with, could have become.
For Almodovar, too, "Volver" is like a homecoming. Whenever we are most at ease, we fall most easily and gracefully into our native idioms. Certainly as a young gay man in Franco's Spain, he didn't feel at home, but he felt displaced in a familiar way, and now he feels nostalgia for the women who accepted him as easily as if, well, he had been a ghost. Roger Ebert was the film critic of the Chicago Sun-Times from until his death in That twenty years are nothing.
That the the feverish look Wandering in the shadows, Seeks you and names you points you out. Gardel was a successful writer, composer, producer, and actor. Gardel is responsible for writing and composing some of the most lasting pieces of music in Latino history. Lyrics of Volver in English and in Spanish: here. Carlos Gardel singing Volver : here. Thanks for sharing, Samdie I loved the film and I really liked the song, too. Hola samdie. Los dos cantan muy bien pero con estilos muy distintos.
That is a breath of life, That twenty years is nothing, That feverish gaze Wandering in the shadows We are looking for and you name it. That is a breath of life, That twenty years is nothing, That feverish gaze, Wandering in the shadows, We are looking for and you name it.