revolutions
by Douglas Messerli
Pedro Almodóvar (screenwriter and
director) Volver / 2007
I interpret the title of Pedro
Almodóvar’s 2007 film not simply as a “coming back,” but as a return, a
revolving, a kind of “revolution,” both in the sense of the planet’s trip
around the sun and a change or turning in social and political events.
As they prepare to leave, they briefly visit their aunt. The aunt is
nearly blind and hardly able to remember Sole, yet the house remains in order.
The aunt survives, she explains, with the help of their mother Irene (the
marvelous Carmen Maura), whom the townspeople, according to Augustina, claim
has reappeared as a ghost. It is hard not to believe in this ghostly presence
when Sole herself sees the image momentarily as she uses the bathroom and when
the women are presented upon their leaving with canisters of prepared food, each
with their name written upon it.
Given the horrific scene and the acts behind it, Raimunda has little
choice; she demands that Paula, if ever asked, must say that she had nothing to
do with the murder, that she is to insist that her mother has committed the
act. Cleaning up the blood, Raimunda methodically wraps the body, depositing it
in the freezer of a small closed-down restaurant next door which she has been
asked to watch while its owner is away.
Almodóvar’s films are the closest thing
we have today to the boulevard farces of the late 19th and 20th century French
theater, and, in the manner of such topsy turvy theater, no sooner has Raimunda
delivered her husband’s body to the freezer than she receives a call that her
aunt has died; she is expected to return to the small country village. Unable
to do so, she inexplicably sends the more superstitious Sole to the funeral in
her stead.
Meanwhile, a young man, discovering Raimunda in the restaurant, tells
her he represents a film company that would like to rent out the restaurant for
cast meals for the period of their filming in the area, a request the
enterprising young woman perceives as a new source for much needed money.
Borrowing special dishes and provisions from her friends, Raimunda scraps
together an excellent dinner, paying back her friends out of her profits from
the night before. Before long, she has turned the empty restaurant into a
money-making business, transforming her desolate neighborhood into a temporary
center of culture and pleasure.
With the help of her Dominican neighbor, whom she pays as any man might
by the hour, Raimunda trucks the freezer to a spot by the river—her husband’s
favorite spot—where she buries Paco within the freezer as a kind of outrageous
coffin. How very different from the film’s first scene is her act of quickly
cutting a headstone into the bark of a nearby tree.
The plot quickens as Augustina
calls, reporting that she is in a Madrid hospital, dying of cancer. Sole
meanwhile has returned from the funeral to find her ghostly mother has caught a
ride back to Madrid in the trunk of her car. For a while, we are convinced, as
in the fabulous stories of the South American fabulists, that Irene is truly a
ghost, but as she begins to intrude into her daughter’s life, working as a
Russian assistant in Sole’s illegal (but quite popular) hair salon, we begin to
perceive that this woman is too hilariously corporeal to be a simple specter.
Sent to her aunt’s while Raimunda visits Augustina and prepares a final
cast dinner, Paula discovers her grandmother hiding under her bed, and the two
quickly bond. Why has Raimunda been so unforgiving of her mother, Irene asks?
Augustina also has a question to ask of Raimunda: what can she tell her
of the whereabouts of Augustina’s missing mother? We soon suspect the answer to
that and many other of the film’s mysteries when Augustina reveals her mother
has disappeared on the very day that Raimunda’s father and mother burned to
death in a country cabin.
As Raimunda eventually discovers the
existence of Irene (she smells the farts of the old woman in Sole’s apartment)
we slowly come to understand the secret histories of their past: that
Augustina’s mother and Raimunda’s father had long had an affair, that Raimunda
herself had been raped by her father and, accordingly, been sent to her aunt’s
house for protection, and that Irene (Raimunda’s mother) set fire to the cabin,
killing her husband and his lover.
Now we comprehend the numerous turns or revolutions of this story. Paula is not only Raimunda’s daughter, but her sister, and her mother Irene’s act is not only one of jealousy but of revenge. As the women return to the small village to close down their aunt’s house, Irene chooses to “pay for her own crimes,” this time by living with Augustina, again as a ghost, caring for her until Augustina’s death.
The two sisters and Paula will stay on in the village, perhaps to care
for their own mother, ghosts of their own pasts, in their mother's last hours.
Generation after generation of these women, apparently, seem unable to escape
the destructive sexuality of their men and the consequences of their reactions
to it. And in that sense, they are all trapped. It is, after all, a culture
grounded in death. Yet in their caring for each other another kind of
revolution may take place, creating a new world of deeper understanding and
love among the grieving survivors.*
*It may be interesting to compare
Raimunda’s world, in which these strong women take things into their own hands,
with the world of the female characters in Polanski’s Chinatown—which also presents us with a daughter who is also her
mother’s sister—in which they remain in thrall to the several evil male forces.
New York, January 18, 2008
Reprinted from Nth Position [England] (April 2008).
Reprinted from Green Integer Blog (April 2008).
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