女を楽しくするニュースサイト「ウーマンライフ WEB 版」

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オール・アバウト・マイ・マザー(1999年)【シリアス・社会派映画】 All About My Mother (1999)


監督 ペドロ・アルモドバル/Director: Pedro Almodovar
出演 セリシア・ロス、マリサ・パレデス、ペネロペ・クルス/Starring: Cecilia Roth‚ Marisa Paredes‚ Penelope Cruz


▼「みなさん、ちょっとわたしの話を聞いて。あーら、お帰りになるつもり? 私の体、いくらだと思う? ふふ、その値段じゃないの。胸のシリコンはいくら、お尻はいくら」軽妙な告白に観客はドッ。彼女(?)は心底マヌエラやウマが好きなのだ。ロサの母親や、元夫の死、何度かのトラブルにまいり、バルセロナを離れたマヌエラは、ロサの息子を育て2年後再びバルセロナに帰る。息子はエイズの感染を免れていた。ウマらは大喜びで彼女を迎える

A warm view towards “women”

Losing her son in a car accident before her very eyes is heartbroken Manuela (Cecilia Roth)‚ who is heading for Barcelona from Madrid. It was there where she met her ex husband. She rescues a prostitute who is being beaten by a customer at the “open field” of the night. The prostitute turns out to be her ex-husband’s friend Agrado.

Director Almodovar doesn’t display his eccentricity. Without trick riding or driving dangerously‚ he steers with a firm handle and reliably draws in the audience. Everyone close to Manuela have a shady past: actress Huma (Marisa Paredes) who was the reason behind her son’s death‚ nun Rosa (Penelope Cruz) who is infected with AIDS and intends to give birth‚ Agrado who is a transsexual prostitute‚ her ex husband who became a woman‚ and Rosa’s mother who produces fake artwork.

By chance Manuela works as Huma’s personal assistant. Huma learns of the death of Manuela’s son and at the same time is attracted to her sincere personality. Rosa‚ who is unable to open up to her mother‚ adores Manuela like a sister‚ and entrusts her newly-born son to her before dying. When Huma’s co-star is in a crisis‚ the person who fills her spot in the play and saves them from an emergency is Agrado.

“Everyone‚ please lend an ear for a minute. Oh? You’re leaving? My body‚ how much do you think it’s worth? Hee hee‚ no‚ not that kind of price. How much are my silicon breasts? My buttocks?” The audience are shocked at her light confession. She loves Manuela and Huma from the bottom of her (his?) heart. Following the death of Rosa’s mother and her ex-husband and all sorts of troubles‚ Manuela who had left Barcelona‚ returns once again after raising Rosa’s son for two years. He avoided being infected with AIDS. Huma and the others welcome them with much joy.

From about this point‚ where had the audience been led? The intention of director Almodovar‚ who has patiently progressed the story‚ accompanies a clear-cut outline. While illustrating the poorly-met void of the protagonist‚ what he reveals in the end isn’t a cheap kind of decadance. Taking sexual stereotypes and breaking them down into humour‚ he presents to us on his hand the sparkling love that remains. Even if one cannot forget sadness‚ one can find the hope to live. I want to include the final dedication of the director: “Bette Davis‚ Gina Rollins‚ Romy Schneider‚ to all actresses who have played actresses. To all women who act. To men who act and become women. To all the people who want to be mothers. To my mother.” Mothers‚ females and transsexuals. The view of the director toward the various”women” that he lumps together is a warm one.