Parallel Mothers
Pedro Almodovar is a master at making films that have real emotions within the narrative structure of melodrama. Many of his best films explore womanhood, motherhood and the allure of the scandalous. His last film, “Pain & Glory,” is a heartfelt reflection on past mistakes, legacy and life. With “Parallel Mothers,” some of those things remain, but the melodramatic comes to the forefront. It’s not among his best films, but it’s a sterling showcase for his lead actresses, Penelope Cruz and Milena Smit.
**I should mention that my screening had projection issues that resulted in ~5-10 minutes of the film being either “missed” or without sound. Regardless, the screenplay by Almodovar is so well streamlined in how it lays out exposition that all the information could be gleaned as the film went on.
Alberto Iglesias is a composer I often forget about how great he is until I hear a score of his that really strikes me. In “Parallel Mothers,” his work has quick bursts of suspense and energy but also haunting emotional themes. The result is a familiar blending of genres and tones that we only get when he collaborates with Almodovar, but also something that could only go with this story. I’m grateful for it being available on YouTube Music so I could listen to it while writing this review.
Framing the story in this film is a town looking for closure. Grandparents speak of a mass grave of people in a Spanish town murdered by Franco’s army early in WWII. Janis Martinez (Cruz’s character) is spearheading an attempt to get the grave exhumed so that these loved ones are given a proper burial by the few whom still remember them. Janis meets with Arturo (Israel Elejalde), a forensic anthropologist, to enlist his assistance to get approval for the exhumation. They have a night of passion. A few months later, Janis is pregnant. When she’s ready to deliver, she’s in the same room as Ana (Smit), a teenager who was living with her father, whom sent her to live with her actress mother in Madrid when she got pregnant. They give birth, and exchange numbers. If the other needs something, they can call each other.
To say any more would reveal too much, but needless to say, a standard Almodovar melodrama plays out as Janis and Ana become more intertwined in each other’s lives. The crux of the film centers on when they live together, and seeing how motherhood impacts both women, and how they live their lives. Twists and turns abound, and how and when truths are revealed is central to the film’s success. Cruz always seems to do her best work when she’s with Almodovar, so that is not surprising, but Smit is a revelation as a young woman terrified about how she will be as a mother, then someone able to rise to the occasion, only to crash and have to restart herself when a twist of fate occurs. Ideally, she would get as much love as Cruz does.
Knowing just enough about one’s family history is essential to the plot mechanics of “Parallel Mothers,” whether it’s the story of Ana and Janis or about the exhumation. Most of the people in this film barely remember important figures in their lives, but remember just enough details to keep the story moving forward. By the end, those details bring the characters what they need most- closure, and a chance at a future where those whom have been lost are not forgotten.
