ALMODOVAR's MOTIFS IN FILMS

 ALMODOVAR’s MOTIFS IN MOVIES Essay

The religious element in Almodovar's films

" My spouse and i experienced two dictatorships, those of Franco and that of ecclesiastical education. ”

Almodóvar's over statement links his life with his operate. The faith based element finds its own place, between the strictness of Catholicism and the Almodobarian contempt towards any conventionality. The indiscipline Pedro Almodóvar's films love the mixing of species. Because of this, the wit and disaster are entwined, reflecting the director's perspective to everything conventional and rigid. " I'm a great agnostic and against the Chapel. I believe that in the history of Spain, the Church has been the biggest friend of power and accountable for some of the most severe things which may have happened during my country, " says Pedro Almodóvar. The religious education brought adverse influence upon Pedro Almodóvar, developing inside him a feeling of resistance and rebellion, although also the interest for every thing new, modern and progressive. The only thing the Salesian education taught him was to office Grigorian church hymns and reduce his beliefs in Goodness.

Almodóvar's crazy codes in the movie Guilty nuns (1983), finally, layer the sinful life from the monks with sympathy. With the convent wander lesbians, whores, masochists, heroin addicts plus the nuns have names of

humiliation: sister Cursed, sister Mud,

Sibling Rat, etc . The hard fact of the

film Bad Education brings to the sunshine

the Holiness of the Church that people

truly feel so comfortable about, offering it a

deepening harsh. The frightening fathers

generate children tremble with fear. Religion generates fear and guilt. " The Cathedral, which, for example , represents the missions in damaged countries throughout the world, in Brazil, in Africa and in other parts from the globe, certainly serves healthy purposes and in a very confident way. But once you break down the Chapel of the Catholic schools, we will see that indeed this House of worship offers a poor education to children, because it relies on two terrible things: guilt and punishment. The Church is diminished daily by itself. I actually am not interested in it, even as an opponent. " 40

Touching the scandalous, the destruction of classic institutions, Catholicism, family, non-urban exodus and drug abuse become the objective of disrespectful and transforming dark-colored humor. This kind of anarchic wit has profound Spanish ancestral roots, with root base that particular date from picaresque novels and satirical poems of the Golden Age as the 40 Interview at VIMA, Giannis Zoumboulakis, Sunday, Might 16th 2005. grotesque caricatures and deformities of the Valle Inclan's esperpentos41, a remarkable form inside the 1920s. The bitter nature has always been a characteristic from the Spanish avant-garde, from the amazing feats of surrealist and Dada, since the clown of the Madrilenian movida of the late seventies and early on 80s. 40

Therefore , Pedro Almodóvar rejects religious education very early on knowing that the priests no longer speak about him. He identifies himself in Tennessee Williams's Cat on a hot container roof, a movie that was the personification of sin inside the Church. " I participate in the world of bad thing and corruption, " he admits that. At the age of 12, if somebody asked him what having been he would answer " A Nihilist", , and without knowing the exact which means of the expression.

Impulsive and with unconformity, Pedro Almodóvar works initially on the taboo issue of religion, with Guilty Nuns (1983). Since then, the religious element is experienced many times in his films, even if it pertains to minor persons, such as inside the film Espada, where the mom belongs to Gyvas Dei, yet also in the Law of desire in which Carmen Maoyra comes once again to see her priest and teacher and she is removed from the house of worship because in past times she was male.

Addressing Fenterik Straus' question, in the discussions with Almodóvar, whether he reconciles with religion through his search of humanity, Almodóvar seems to have full control and identification of options. Is part of his reply: " I would enjoy to get back together but I did not succeed. When i state that I would end up being...

Bibliography: • Frederic Straus, Conversing with Pedro Almodóvar, transl. Vera Damofli,

Electra Magazines, Athens, 2007

• 40th International Thessaloniki Film Festivity, Pedro Almodóvar, Kastanioti

Guides, Athens, 1999

Publications, Athens, 2006

• Kolovos Nikos, The woman in films, Capricorn Publications, Athens, 1989

Thessaloniki, 2008

• P

Dalakoura), Federico Garcia Lorca, Making a stop in the celestial body overhead, (transl. Vasilis Laliotis),

Capricorn Publications, Athens, 2000

• Michel Cirvin, Le Théatre Nouveau en metropole, Paris, G. U. Farreneheit., " Que sais-je? ”,

1987, 6éme édition

• Enciclopedia delete Cinema, Garzanti, Μιλάνο 1990

• Yanni Zoumboulaki's interview at " VIMA”, Sunday, May 16th, 2004


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