Critical Response - Research Paper Example

This paper will explore the film’s content, as well as formal aspects, including, among others, performance and genre. Almodovar appreciates the element of desire, particularly homosexual desire, which is a tough topic regarding a normal human condition. The director considers desire as the absolute necessity to be wanted or desired, however, the interplay of desires often makes it difficult for two desires to correspond. The integration of such a sensitive topic in the film not only adds to its richness, but also highlights the array of formal aspects employed to present the issue in a delicate manner.

Almodovar’s use of comedy and comic sensibilities eases the manner in which the touchy issues of homosexuality, nudity, violence, jealousy and lust are presented and discussed. According to Smith (187) La Ley del Deseo develops the central theme of morality as highlighted by homosexuality and transsexuality. Almodovar’s style also encompasses the use of themes to develop new themes. For instance, the theme of love without constraints results in the emergence of the theme of death. The disregard of sexual differences in the endeavor to find love without restrictions results in the eventuality of death.

Pally (35) perceives Almodovar’s presentation of these touchy issues as celebratory instead of frightening. Almodovar uses light to frame the film’s characters’ faces with a sense of protection and care, which does away with the characters’ inherent confusion. This use of light allows the viewer to appreciate the braveness and joyousness of the characters that choose to be true to their true emotions regardless of the outcome. The extravagant use of bright color in the film speaks to Almodovar’s visual style.

In addition to the integration of color in the film, Almodovar incorporates art, for instance, the hopper print that appears in Pablo’s apartment. The use of bright colors and art adds to the film’s overall visual superiority. In addition, Almodovar uses other stylistic touches such as fade and close-up. For instance, in one scene, framing shifts from a close-up of Pablo’s eyes to the revolving wheels of his car, the wheel cover aligns perfectly with Pablo’s pupils (La Ley del Deseo).

In essence, even when Almodovar portrays Pablo’s makeshift family as incredibly outrageous through silly narrative, the director protects the nobility, emotional richness and strength of all characters. Characterization adds to the richness of the film. For instance, while the film appears to be falling apart in some instances, characters such as Tina who is fierce, funny and independent do not fall apart, thereby holding the film together. Operating in a cultural environment that frowns upon nudity, especially male nudity, Almodovar does his best to deal with the awkwardness of the topic in a comic manner.

However, according to Medhurst (127) the use of comedy in presenting serious issues in La Ley del Deseo complicates the manner in which Almodovar and the film are perceived culturally. Notably, since comedy relies on inside cultural knowledge, the region from which La Ley del Deseo was generated largely influences the appreciation of the film’s message (Medhurst 132). Spanish roots have significantly influenced the film’s raw material, thereby impacting the way people from other cultures perceive its intrinsic message. On