The Scheme
There may be no March Madness this year but there’s something truly insane related to college basketball this Tuesday.
Georges Franju
-
Eyes Without a Face (1962)
—
Directed by
Roger Ebert
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
Emmanuelle Riva: 1927-2017
A tribute to the late Emmanuelle Riva.
Conversations with Christian Petzold’s “Phoenix”
May contain spoilers
"Vertigo" is an obvious inspiration for "Phoenix," but there are other films and books that the film brings to mind.
Surviving the Shipwreck: Christian Petzold and Nina Hoss on "Phoenix"
An interview with "Phoenix" star Nina Hoss and director Christian Petzold.
Almodovar's limp noodle, Panahi's home movie
This morning, Pedro Almodovar, Spain's biggest big-cheese filmmaker, handed us a limp noodle with "The Skin I Live In," his entry in the Cannes competition. The film stars Antonio Banderas (who began his career in Almodovar's early films) and Elena Anaya, who looks like a cross between Penelope Cruz and Audrey Hepburn. Even a second-best Almodovar film has its delicious moments, but "The Skin I Live In" is flat compared with his best work, including "Broken Embraces," "Volver," and his Oscar winner "All about My Mother."
Typical of Almodovar, the film is a melodramatic farce. Although it's based on the novel "Mygale" ("Tarantula" in English) by Thierry Jonquet, the story is also strongly reminiscent of the 1960 French horror classic "Eyes without a Face" by Georges Franju. In the Franju film, a surgeon kidnaps women in order to graft their faces onto the head of his disfigured daughter. In "The Skin I Live In," a plastic surgeon is engaged in highly experimental work in order to create synthetic skin as a tribute to his dead wife, who was burned to death in a car crash. He subsequently uses the results of his research in service of a unique punishment for his daughter's rapist.
This story has a lot of twists, and the element of surprise is important. I don't want to give away too much, especially since it's due to open in the U.S. in the fall. I haven't read "Mygale," but I understand that the narrative is fragmented into sections that all come together in the end. In this, Almodovar appears to have followed the structure of the book, perhaps too closely. One of the principle weaknesses of "The Skin I Live In" is that the story is scattered in pieces. Characters and subplots are introduced then dropped. They are loosely but not completely tied together in the end.
