Bad Education (Original Uncut NC-17 Edition)

Bad Education (Original Uncut NC-17 Edition)

Bad Education (Original Uncut NC-17 Edition)
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DVD Cover Information

Actor: Alberto Ferreiro, Francisco Boira, Gael Garc?a Bernal, Javier C?mara, Juan Fern?ndez (XIII)
Primary Contributor: Javier C?mara
Primary Contributor: Gael Garc?a Bernal
Primary Contributor: Fele Mart?nez
DVD: Region Code 99
Audio: English (Subtitled); Latin (Original Language); Spanish (Original Language), Dolby Digital 5.1
Format: AC-3, Closed-captioned, Color, Dolby, DVD-Video, NTSC, Subtitled, Widescreen
Picture Format: 2.35:1
Running Time: 105 minutes
DVD Release Date: 2005-04-12
Audience Rating: R (Restricted)
Studio: Sony Pictures

Movie Reviews of Bad Education (Original Uncut NC-17 Edition)

Movie Review: Transvestite junkies and pedophile priests
Summary: 5 Stars

Childhood friends Ignacio and Enrique haven't seen each other in decades, until one day when, out of the blue, Ignacio shows up at Enrique's house with a story that he has written based on their childhood experiences. Ignacio (Gael Garcia Bernal), now an actor, wants Enrique (Fele Martinez), now a director, to turn his story into a movie and cast him in the lead role.

Pedro Almodovar has always set out to provoke audiences with confronting images and themes that are often described as perverted by his detractors, and nothing has changed with "Bad Education". In fact, "Bad Education" is probably one of the more offensive of Almodovar's movies. If you don't think you can handle a film containing pedophile priests, a very unplatonic relationship between two young boys, transvestite junkies and assorted gay sex scenes, then give up now and try "Women on the Verge of a Nervous Breakdown" instead (probably the least offensive entry in Almodovar's filmography). However, if you feel that you can handle it, then I strongly recommend this film as it, like Almodovar's other more recent movies, is really amazing.

I started watching Almodovar films after hearing his earlier works compared with the films of John Waters. It is true that Almodovar's earlier films (such as "What Have I Done to Deserve This?") are dark comedies in the same vein as those of Waters, but unlike Waters, who never really developed as a filmmaker, Almodovar has transitioned from making films simply for shock value to making films that really have something to say about human nature (although, still have a shock element to them).

"Bad Education" can be viewed at a number of levels: as a mystery; as a homage to film noir; as a study of the impact of childhood abuse on adults; or as an examination of the different ways in which adults can abuse each other, and I'm sure there are other ways of seeing it, too. Just when you think you've got a handle on the story, it changes, and similarly, just as you think you understand one of the characters, he changes, too. This is particularly the case with Gael Garcia Bernal's character, which is the reason why I love this film so much. The audience's perception of Bernal's character constantly changes throughout the film and I found myself thinking about just who this person really was for days after finishing this film. My fascination with this character is assisted by the fact that he is played by Bernal, who is not just a pretty face, but also an incredibly talented actor. I have enjoyed seeing Bernal in other films (in particular "Don't Tempt Me"), but to see him working with Almodovar, who has a talent for bringing out the best in his actors, is a real joy.

Summary of Bad Education (Original Uncut NC-17 Edition)

Writer/director Pedro Almod?var's dark, sexy Hitchcock homage is his best work since his Oscar-winning All About My Mother, and deepened by a sun-dappled sadness. Handsome, enigmatic ?ngel (Gael Garc?a Bernal) arrives at the Spanish movie offices of director Enrique Goded (Fele Martinez) and happily proclaims that he's actually Enrique's long-lost school chum Ignacio--an announcement that is both less than convincing and more than it seems. A novice actor, ?ngel pitches a semi-autobiographical screenplay in which he's determined to star, a revenge-laden reflection of the doomed love he and Enrique shared as boys before a pedophile priest cruelly intervened. The script, and the lost days it recalls, carefully unfurls into a series of brooding movies-within-movies and memories-inside-memories, which allow the sensual, multiple-role-playing Bernal to give the performance of his young career--among other things, he makes a stunningly convincing drag queen--and Almod?var the opportunity to movingly suggest that people will pay any price to ensure that their stories are told. --Steve Wiecking

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