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Testament of Youth

Director: James Kent

Cast: Alicia Vikander, Kit Harrington, Taron Egerton, Emily Watson, Dominic West, Hayley Atwell, Miranda Richardson, Colin Morgan, Joanna Scanlan

Swedish actress Alicia Vikander has come a long way from her vivacious debut  as Kitty in Joe Wright’s film Anna Karenina.

In director James Kent’s film adaptation of the 1930’s novel Testament of Youth, Vikander plays aspiring novelist and soon to be pacifist Vera Brittain. The film opens in an idyllic setting  resembling an English summer garden with Vera and her brother Edward played by rising star Taron Egerton, last seen in Legend along with his friends Victor Richardson played by Colin Morgan and the dashing Roland Leighton, wonderfully played by Kit Harrington of the hit HBO TV series Game of Thrones.

As a petulant young woman, Brittain objects to her father buying her a piano and strongly presents her case to her parents played by Emily Watson and Dominic West that all she really desires is to go to Oxford and study literature and classics.

At the outset of Testament of Youth, Vera Brittain is portrayed as a strong-minded young woman who was extremely close to her brother Edward and his group of friends which were all destined to study at Oxford. Destiny has different plans when in 1914, Europe is plunged into the bloody and brutal First World War, which initially everyone who enlisted thought would only lost a couple of months.

Her brother and his friends all enrol into the British army and go and fight in France, in the muddy trenches and soon the War develops into a brutal protracted affair. Vera soon abandons her plans for Oxford and enrols to be a nurse to assist the war effort.

Unlike Joe Wright’s brilliant and beautiful adaptation of Ian McEwan’s novel Atonement about doomed love during the Second World War, Testament of Youth does not maintain the same emotional resonance although dealing with similar themes. Vikander holds her own as the passionate and outspoken Vera Brittain.

Her quest to find her brother Edward, leads her to the front lines in France in 1917 where she is forced to take care not only for wounded British soldiers but also for the wounded and dying German soldiers, making her realize that despite the politics, war effects everyone equally, a devastating loss for both the victorious and defeated nations.

Which is precisely why over a hundred years later, Armistice Day is still celebrated on the 11^th November as a commemoration of those countless lives sacrificed during World War 1 and a warning about the perils of embarking on future wars which is especially relevant in the conflict strewn geo-political arena of the 21^st century.

After World War 1, Vera Brittain became a vocal pacifist and an anti-war campaigner. She dealt with her huge grief by publishing all the letters of her brother and his friends as well as her own memoirs in 1933 of that horrific time during the war, where she witnessed the brutality and infinite loss of life first hand as a nurse.

Testament of Youth is a fascinating look at the naivety of war through the eyes of a generation which were obliterated by its devastating effects. At some point the film, does not manage to maximise the emotional resonance, which films like Atonement and The English Patient did so brilliantly.

Nevertheless Testament of Youth remains a damning anti-war indictment and an accurate historical portrait of a lost generation, right down to the soft focus production design and period costumes.

Audiences should look out for cameo appearances by Hayley Atwell (Brideshead Revisited) as well as Miranda Richardson (The Young Victoria, Damage) as the stern Oxford professor who recognizes Vera Brittain’s potential as a young writer. Recommended viewing for ardent fans of historical cinema.

Source: Vera Brittain

Batman Begins

Director: Christopher Nolan

Cast: Christian Bale, Michael Caine, Katie Holmes, Gary Oldman, Cillian Murphy, Tom Wilkinson, Ken Watanabe, Liam Neeson, Rutger Hauer, Linus Roache

To create a successful trilogy a director has to start with the mythology, the background of a story and the childhood trauma of what moulds a hero. To appreciate the mythology one should always start at the beginning. The Origins of a Superhero.

Having afforded director Christopher Nolan’s Batman Begins a second viewing, and being hugely impressed by the two brilliant sequels The Dark Knight and The Dark Knight Rises, a retrospective review of the film is in order.

Christian Bale (Empire of the Sun) is superb as Bruce Wayne and in Batman Begins, the origins of the superhero Batman are extensively explored from his falling into a bat cave as a young boy, to his maturity as Billionaire playboy who eventually recaptures his own dynastic inheritance and forges a vigilante alter ego to reclaim the city that he initially abandons.

Batman Begins reignited the mythology of the League of Shadows, with not one but three villains in the form of Liam Neeson as Decard, Cillian Murphy as Scarecrow and the irrepressibly brilliant Tom Wilkinson as Gotham gangster boss Carmine Falcone.

Nolan’s vision of Gotham is heavily influenced by Ridley Scott’s sci-fi classic Blade Runner, even casting Rutger Hauer from Blade Runner in the role of Earle who plans on taking over Wayne Enterprises. What makes Batman Begins so timeless and watchable is the witty repartee between Wayne and his trusted manservant Alfred, wonderfully played by Oscar winner Michael Caine.

The onscreen chemistry between Caine and Bale is the groundwork which makes the two sequels work so wonderfully. The two actors went onto make Nolan’s magical masterpiece The Prestige in 2006 along with Hugh Jackman after the success of Batman Begins.

After all, who is Bruce Wayne, after his parents were brutally murdered?

A Billionaire orphan cared for by his manservant, who transformed into the caped prince of Gotham. A dynamic completely explored in Bruno Heller’s superb TV series Gotham, which evidently was inspired by the Dark Knight Trilogy.

The love interest in Batman Begins is Rachel Dawes played by Katie Holmes although there is no hint of romance more of affection. Holmes holds her own in a male dominated film about the moulding of a superhero. Gay Oldman is reliably good as Detective Gordon, a character also featured in the series Gotham, but it is Liam Neeson who is exceptional as the mysterious Decard who initially encourages the itinerant Bruce Wayne to embrace his fears, little realizing that the instruction comes from his own enemy.

Visually, Batman Begins sets the tone for a gripping and enduring trilogy which only proved more watchable with the release of the stunning Oscar winning sequels. Director Christopher Nolan clearly was the right man for the task of recreating the Gotham mythology judging by the success of this trilogy and also his later films including Inception and Interstellar.

Batman Begins is worth watching again for establishing a mythology and also recreating the origins of a superhero, which although might appear timeless will ultimately be reinvented by DC Comics with the release of the forthcoming Batman vs Superman: Dawn of Justice in 2016.

Batman Begins, The Dark Knight and The Dark Knight Rises are indispensable films to own for any cineaste to understand the progression of a blockbuster trilogy and the birth and rebirth of a seemingly immortal superhero. Batman Begins is guaranteed recommended viewing again and again, destined like its superhero to become a cultural classic.

Spectre

Director: Sam Mendes

Cast: Daniel Craig, Lea Seydoux, Christoph Waltz, Naomie Harris, Monica Bellucci, Ben Whishaw, Ralph Fiennes, Rory Kinnear, Dave Bautista, Andrew Scott, Jesper Christensen

British director Sam Mendes follows up his 2012 blockbuster Skyfall, with the 24^th installment of the 007 franchise aptly named Spectre, which serves as a pastiche of all previous Bond films, but particularly referencing Casino Royale, Quantum of Solace and Skyfall.

With a truly spectacular opening sequence shot during the Day of the Dead festival in the sprawling and crowded central plaza of Mexico City, Spectre promises better and bigger cinematic moments. On all accounts, Spectre delivers although at times, the Bond film could have been more tightly edited.

The action sequences in Mexico City, Rome and Tangier are gripping and the production design and cinematography are quite startling, shading the film between sequences of extreme illumination and murky darkness in keeping with the sinister undertone pervading the entire narrative.

Mexico City and Tangier are beautifully done, with gorgeous colours contrasting against the monochromatic elegance of the Roman streets at midnight or the snow covered Austrian Alps during ski season.

The Tangier scenes are clearly influenced by Bernardo Bertolucci’s classic film, The Sheltering Sky, especially when Bond and Dr Swann disembark from the Moroccan train into a sweltering Saharan desert, while the previous action on board mirrors that of The Spy Who Loves Me. Audiences should watch out for Dave Bautista (Guardians of the Galaxy) as the Spectre henchman Mr Hinx who has a penchant for popping a man’s eyes out with his thumb nails.

Daniel Craig returns as James Bond looking slightly weary and a tad less nimble but nevertheless maintaining a smirk on his face along with those dazzling blue eyes. In a stroke of genius casting, French actress Lea Seydoux is brilliant as Dr Madeleine Swann, daughter of the Pale King, whilst the villain is suitably menacing and at times slightly camp, Franz Oberholzer better known as the evil mastermind with a penchant for white Persian cats, last seen in You Only Live Twice, On Her Majesty’s Secret Service and Diamonds are Forever.

Naturally, Oscar winner Christoph Waltz (Inglourious Basterds, Django Unchained) is fabulous as Bond’s crazed arch enemy, but somehow does not make as brilliant an impression as Javier Bardem did as Raoul Silva in Skyfall.

With the absence of Judi Dench as M, Ralph Fiennes, appears craggy and irritable as the new M, reminiscent of the original M in the 1960’s Bond films. Refreshingly, Naomie Harris as Moneypenny and Ben Whishaw as the technically gifted Q have bigger roles in Spectre, acting always as Bond’s necessary sidekicks. Watch out for a brief but glamourous cameo by Monica Bellucci as Lucia Sciarra and Jesper Christensen as the ubiquitous Mr White, last seen in Quantum of Solace.

Spectre, which stands for the Special Executive for Counter-intelligence, Terrorism, Revenge and Extortion is subtly portrayed as a pervasive and dangerous shadow organisation responsible for all sorts of international atrocities, which in the 21^st century is particularly apt. As the visual references abound throughout Mendes’s Spectre, it will only be the serious Bond fans that will spot all those cinematic clues. In this respect, Spectre pays tribute to the success of the longest running film franchise ever, without undermining its inherent and enduring appeal.

Spectre is highly recommended viewing for ardent Bond fans, although some might find this film slightly long and the narrative muddled, but then again, one has to identify all the past 007 signifiers, for Spectre to be truly appreciated.

The question remains, much like the creepy opening sequence, is there life after Spectre?

The Hunger Games: Mockingjay Part 2

Director: Francis Lawrence

Cast: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Elizabeth Banks, Donald Sutherland, Jeffrey Wright, Julianne Moore, Sam Claflin, Paula Malcolmson, Philip Seymour Hoffman, Stanley Tucci, Natalie Dormer, Sarita Choudhury, Patina Miller, Mahershala Ali, Willow Shields, Michelle Forbes

Consistency of vision is always imperative when converting a trilogy of bestselling novels into films and certainly The Hunger Games trilogy based upon the allegorical novels by Suzanne Collins have maintained that consistency in terms of casting, production design and overall cinematic appeal.

Whether parent company Lionsgate’s decision to split the final installment of The Hunger Games, Mockingjay was a wise one remains debatable. Nevertheless director Francis Lawrence returns with the second part of The Hunger Games: Mockingjay picking up exactly where the first part finished.

Peeta Mellark has been returned to the rebels from the capitol, although slightly deranged and brainwashed. Our sturdy heroine Katniss Everdeen, beautifully played by Oscar winner Jennifer Lawrence (Silver Linings Playbook) is unsure of Peeta’s complete rehabilitation and loyalty.

In a brutal war, which takes Katniss and her team first to District 2 and then onto a treacherous mission of penetrating the devastated capitol, where images of the aging President Snow, still wonderfully played by Donald Sutherland, are flashed across random TV screens at interim moments during a savage battle between the rebels and peacekeepers. Urged on by the charismatic District 13 President Coin, played by Oscar winner (Still Alice) Julianne Moore, Katniss and her unit are implored to take the capitol and assassinate President Snow.

As the love triangle which was initiated in The Hunger Games, between Katniss, Peeta and the hunky Gale Hawthorne, played by Liam Hemsworth is teased out to its logical conclusion, Katniss has to stay true to her own convictions, despite the brutal toll it takes on herself and her family. Katniss realizes in Mockingjay Part 2 that she is a symbolic pawn between Presidents Snow and Coin, while always struggling to retain her own autonomy and individuality.

Woody Harrelson and Elizabeth Banks reprise their roles as Haymitch and Effie Trinket respectively, although audiences should be warned that Mockingjay Part 2 is considerably darker in tone and texture than the lurid The Hunger Games or the visually gripping Catching Fire.

A dark mood of warfare and finality hangs over the film, even with the cast giving a sense that this violent action trilogy has exhausted all options. Considering the recently high level of violence in the contemporary world, especially as shown on international news broadcast, suffice is to say that American author Suzanne Collins has made her point about millennials becoming immune to violence both on screen and in real life.

Despite an all-star cast including the last screen appearance of Oscar winner Philip Seymour Hoffman (Capote) as Plutarch Heavensbee, Mockingjay Part 2, belongs to Jennifer Lawrence and Josh Hutcherson as their characters come to terms with their dramatic destiny in the face of a manipulative conflict between the Rebels and the Capitol.

The Hunger Games: Mockingjay Part 2 is recommended viewing for fans of the entire trilogy although the 3-D technology was not used effectively, making the second part of Mockingjay too long and aimless. Inevitably, Katniss Everdeen triumphs but at great personal cost to herself.

Brooklyn

Director: John Crawley

Cast: Saoirse Ronan, Emory Cohen, Jim Broadbent, Julie Walters, Domhnall Gleeson, Emily Bett Rickards, Jessica Pare, Maeve McGrath, Eileen O’Higgins

After her sparkling debut as the precocious and misguided Briony Tallis in director Joe Wright’s handsome film Atonement, Oscar nominee Saoirse Ronan has made a string of less memorable films including Hanna and The Host until appearing as the radiant lead in this 1950’s love story Brooklyn, where she dazzles as the Irish immigrant Eilis fresh on arrival in New York City.

Director John Crawley’s adaptation of the novel by Irish author Colm Toibin Brooklyn is a soft-focused, brilliantly acting and utterly charming love story. Ronan is superb as Eilis who arrives in the Big Apple and stays at a ladies boarding house run by the ever glamourous Mrs Kehoe wonderfully played by Julie Walters (Billy Elliott).

Soon the sensible Eilis befriends the other guests and while working at an American department store is guided by the fashionable manageress Miss Fortini played by French Canadian actress Jessica Pare who brought added style to the final two seasons of Mad Men.

At an Irish club Friday night social, Eilis meets the charming and dimple-faced Tony, an Italian immigrant, played by Emory Cohen (The Place beyond the Pines). Their initial courtship is cut short when Eilis has to unexpectedly return to Ireland for a family emergency. Back in the Green Isle, she is wooed by the handsome and eligible bachelor Jim Farrell played by Domhnall Gleeson (Anna Karenina, About Time, and Shadow Dancer) in the weeks leading up to her school friend Nancy’s wedding.

Director John Crawley and acclaimed screenwriter Nick Hornby (About a Boy, An Education) do an excellent rendition of making a good old fashioned love story in the manner of Mona Lisa Smile, Circle of Friends and is ably assisted by Saoirse Ronan superbly acting in the lead role, as her character Eilis navigates all the nuances and difficulties of life in the New World.

Audiences should look out for Oscar winner Jim Broadbent (Iris) as the benevolent father Flood as well as Emily Bett Rickards as the cheeky companion Patty last seen on the hit TV show Arrow.

Brooklyn with its gorgeous production design, immaculate 1950’s costumes is reminiscent of a less complicated old fashioned love stories and will definitely find an appreciative audience, judging by how packed the cinema was on a Sunday afternoon. Recommended viewing for those that cherished films such as Circle of Friends, Mona Lisa Smile and more recently The Immigrant starring Marion Cotillard.

The Program

Director: Stephen Frears

Cast: Ben Foster, Chris O’Dowd, Jesse Plemons, Dustin Hoffman, Guillaume Canet, Lee Pace, Bryan Greenberg, Denis Menochet

Acclaimed British directed Stephen Frears (Dangerous Liaisons, Philomena) tackles another real life media drama similarly to his Oscar winning film The Queen, in the sports expose of infamous cyclist Lance Armstrong in his new film The Program.

Based upon the novel The Seven Deadly Sins by the sports journalist David Walsh who tracked the rise and fall of Lance Armstrong from the early 1990’s to his public humiliation and eventual stripping of all seven Tour de France medals for admitting to running the most elaborate and sophisticated blood doping system in international cycling. The Program opens with a combative shot of David Walsh and Lance Armstrong playing table hockey in a French resort near the Tour de France route.

American actor Ben Foster (Kill Your Darlings) is terrific as Lance Armstrong, an ambitious cyclist who after battling and overcoming a devastating cancer diagnosis begins a record breaking winning streak by becoming the Tour de France champions seven times.

Chris O’Dowd plays the sports journalist David Walsh who initially suspects that Armstrong’s winning streak is tainted by performance enhancing drugs and soon it is Armstrong’s own arrogance which confirms Walsh’s suspicions.

Jesse Plemons (Bridge of Spies, Black Mass) plays the Amish cyclist Floyd Landis who initially joins Armstrong’s US Postal service team and then soon as the years progress gets caught for testing positive for using performance enhancing drugs such as testosterone as well as other barely detectable drugs such as  erythropoietin (EPO) which boost the body’s capacity for oxygen soon after being declared the winner of the 2006 Tour de France.

With the usual efficiency of editing and swift directing by Frears, The Program is an absorbing sports drama in a similar vein to Ron Howard’s Rush. What makes The Program so compelling is the immediacy of the story as the whole Lance Armstrong scandal is still fresh in the current news media, right up to the sensational interview that he gave on the Oprah Winfrey show in January 2013.

Lance Armstrong Interview with Oprah Winfrey

What is even more compelling to watch is Foster’s brilliant portrayal of Armstrong, a man whose initial devastating battle with testicular cancer turned his will to survive into an elaborate and arrogant drive to win at all costs and become an international sports icon and the brand of Lance Armstrong.

Doping scandals in sports are not new media fare but seem to be increasing reoccurring narratives in the media frenzied world of sports, where competitiveness and winning becomes the only method of establishing a celebrity status in the 21^st century, which Frears skilfully emphasizes in The Program.

Whilst Frears’ earlier film The Queen about the British monarch’s response to the tragic death of Princess Diana back in 1997 is a far superior film, The Program is worth watching for Foster really inhabits the role of Armstrong, changing his physique and almost chillingly adopting his champion arrogance, which is often reflected in scenes where Armstrong is threatening other cyclists on the highly grueling and competitive Tour de France circuit.

Audiences should look out for Lee Pace as Armstrong’s sleazy brand manager, Bill Stapleton and a brief cameo by Oscar winner Dustin Hoffman (Marathon Man, Rain Man) as the team US Postal Service’s underwriter, Bob Hamman, who was initially responsible for paying out large sums of cash to Armstrong for his successive Tour de France wins. French actor Guillaume Canet plays the shady Italian doctor Michele Ferrari.

The Program is a superb portrait of international sports competitiveness, deception and how the media are implicit in making these cyclists into celebrities then breaking them down when scandal erupts.

Source:Lance Armstrong

THE  65th BAFTA AWARDS /

THE BRITISH ACADEMY FILM AWARDS

Took place on Sunday 12th February 2012 in London

BAFTA WINNERS IN THE FILM CATEGORY:

Best Film: The Artist

Best Director: Michel Hazanavicius – The Artist

Best Actor: Jean Dujardin – The Artist

Best Actress: Meryl Streep – The Iron Lady

Best Supporting Actor: Christopher Plummer – Beginners

Best Supporting Actress: Octavia Spencer – The Help

Rising Star Award: Adam Deacon

Best British Film: Tinker Tailor Soldier Spy directed by Tomas Alfredson

Best Original Screenplay: Michel Hazanavicius – The Artist

Best Adapted Screenplay: Bridget O’Connor, Peter Straughan – Tinker Tailor Soldier Spy

Best Costume Design: Mark Bridges – The Artist

Best Foreign Language Film: The Skin I Live In directed by Pedro Almodovar

Source: 65th BAFTA Awards

THE  64th BAFTA AWARDS /

THE BRITISH ACADEMY FILM AWARDS

Took place on Sunday 13th February 2011 in London

BAFTA WINNERS IN THE FILM CATEGORY:

Best Film: The King’s Speech

Best Director: David Fincher – The Social Network

Best Actor: Colin Firth – The King’s Speech

Best Actress: Natalie Portman – Black Swan

Best Supporting Actor: Geoffrey Rush – The King’s Speech

Best Supporting Actress: Helena Bonham Carter – The King’s Speech

Rising Star Award: Tom Hardy

Best British Film: The King’s Speech directed by Tom Hooper

Best Original Screenplay: David Seidler’s – The King’s Speech

Best Adapted Screenplay: Aaron Sorkin – The Social Network

Best Costume Design: Alice in Wonderland

Best Foreign Language Film: The Girl With the Dragon Tattoo (Sweden)

Source: 64th BAFTA Awards

Madagascar

Directed by Eric Darnell and Tom McGrath

Starring: Chris Rock, Ben Stiller, David Schwimmer, Jada Pinkett-Smith & Sasha Baron Cohen

In the tradition of Shrek and Shark Tale, Madagascar is a fun filled animated romp about city pampered zoo animals who land up being shipped to the wild. The penguins that are the cause of practically every commotion in the film hatch a plan to leave the New York Central Park zoo in search of Antarctica. Marty, the zebra, with a superb voiceover by Chris Rock, sees the penguins escape route and soon entertains his own ideas of exploring the world outside, namely, the bright lights of Manhattan.

Despite protests from his friends: Alex the furry but confused lion (Ben Stiller), Gloria, the no-nonsense Hippo (Jada Pinkett-Smith) and Melmon the Hypochondriac giraffe (David Schwimmer), Marty escapes and is soon pounding the New York pavements.

As the film caption states, soon there’s a zoo loose, as Marty’s friends leave the zoo to go looking for him. The game is up when all the escaped animals, including the mischievous penguins are caught in a hilarious scene at Grand Central Station. Thinking that they will be restored to their places at the zoo, there is shock when the animals awake in separate containers, sailing on a ship bound for Africa.

The meddling psychotic penguins, in a military style operation, soon take charge of the ship, causing major disruptions as they change direction for Antarctica. The penguins’ no excuses, but results takeover attempt soon lands the furry foursome overboard. They are washed ashore on the Island paradise of Madagascar.

Like most of us, city slickers, the thought of being left in a wild, untamed environment, with no modern luxuries is truly terrifying. So these animals are out of their depth, when they have to start fending for themselves. Their salvation comes, when they meet the Lemurs, the party loving, tree-hugging rodents headed by the outrageously camp King Lemur, voiced by Sasha Baron Cohen, alias Ali G. What ensues is an hilarious story of how Marty and his friends adapt to their exotic environment, while befriending the Lemurs, and dealing with Alex’s emerging inner self as a carnivorous lion, who soon sees Lemurs and company turning into juicy steaks.

The film’s great moments came from the penguins, whose covert actions propel the story line forward at every turn, from the great zoo escape to hijacking the ship to Antarctica. I think we should take a leaf out of their book – for when all else fails, the penguin philosophy is simply to smile and wave boys, smile and wave!

Madagascar is a highly recommended as a thoroughly entertaining animated film, whose humour and sophisticated story line will appeal to the young, the old and the emerging millennials.

BAD EDUCATION

Directed by: Pedro Almodovar

Starring: Gael Garcia Bernal, Fele Martinez, Daniel Giminez Cacho, Raul Garcia Forneiro, Nacho Perez

Pedro Almodovar’s Bad Education is a film noir inspired meditation on love, sex, drugs and identities. It is the story of two men in Spain, Enrique( Fele Martinez), a film director, and Ignacio (the gorgeous rising Spanish star Gael Garcia Bernal), an aspiring actor and writer, who meet again in the 1980s, 20 years after they attended a Catholic school together as children in the 1960s. As childhood friends and emerging lovers they were separated by an abusive and jealous priest, and Enrique is sent away to another school.

Twenty years on, Ignacio appears at Enrique’s door, now a successful film director and presents him with a story, entitled the Visit. Ignacio urges Enrique to make this story into a film, with him as the main star. After reading the Visit, Enrique realizes that the story tells of their boyhood romance and subsequent abuse and separation at the hands of the Catholic priest.

However, if there was a straightforward storyline, it would not be an Almodovar film, for nothing is straight forward, not to mention any straight characters. I am not going to reveal more than that the film takes on many interesting twists and turns when Enrique embarks on an investigation into Ignacio, and several secrets are revealed, not to mention drag tendencies, drugs, blackmail and even murder!

Almodovar’s casual almost indifferent treatment of drugs, gay sex and sexual identities as part of everyday life marks him as a distinctly European and Spanish director, who fortunately has never gone mainstream, falling prey to the prudish restrictions of Hollywood. For all these aspects are naturally part of a storyline which weaves truth and fantasy, reality and desire into a film noir story of hidden identities, literary ambitions and unrequited love, magnetically sustained by Bernal and Martinez ‘s strong central performances.

The most memorable scene in the film is the swimming pool scene, where after a night out clubbing, a suspicious, yet amorous Enrique invites Ignacio back to his opulent Madrid home for an early morning swim, with a view of seduction. The scene is done with such tantalizing style, covering the best parts of both actors undressing and diving into the pool, in which a lot can be said for a pair of white briefs.

Almodovar’s trademark use of primary colours, especially yellows, greens and reds in set and costume design, provides a vibrant backdrop to his zany characters in Bad Education while conveying a wonderful sense of Spain being a liberated country, filled with a bright sexual honesty and freedom.

A clever, well acted, stylish and coquettishly directed film, which will keep any gay audience riveted if not aroused. Highly recommended viewing for all Almodovar fans who are willing to add Bad Education to their retro Spanish film collection.