After a rocky start, where I just couldn't connect to the story, everything clicked into place, and it became just as wonderfully enjoyable and crazy as Almodovar always has been. Carmen Maura is just great in the lead role, showing just why Almodovar has cast her so many times.

Almodóvar siempre encajando las piezas a la perfección. Me parece una buena película si se toma como comedia, que es el género al que pertenece. Le faltan algunos elementos, y por eso no le doy quizás una estrella más.

Lo que sí es cierto es que el director logra definir el estilo que lo caracterizaría con sus otras películas, un clásico drama con algunos toques de humor.

Las actuaciones estuvieron aceptables, excepto la de Antonio Banderas, que no me gustó para nada, y nunca lo ha hecho.

Un Soundtrack que cumple apropiadamente con el ambiente de la película. En consecuencia, se puede disfrutar perfectamente si, como dije anteriormente, la tomamos como comedia.

Pedro Almodóvar's MASTERPIECE here.
A delightful, crazily absurd, powerfully melodramatic, and very, VERY funny film. I laughed so much in this rewatch, my stomach and jaw are still in pain. The bizarre and colorful variety of characters (in where you can find a young Antonio Banderas playing a stutterer) are all important, not one of them wasted. And it's interesting how a film that starts as a simple story of broken hearts rapidly descents into madness, crazier and crazier every time a new characters pops on screen. Almost like a rollercoaster.
And many of Almodovar's subsequent styles (film noir, for example) are also here. But is hanks to the brilliant and scathing script (written by Almodóvar himself) that the film works so wonderfully.
Along to Howard Hawks' Bringing Up Baby, one of the most hysterical and farcical screwball comedies ever.

Movie #374 of "1001 Movies You Must See Before You Die". I've decided to watch them all in couple of years.

La mejor película de Almodóvar a mi parecer, después se volvió demasiado monotemático. Esta película es una carcajada constante, podría verla ver miles de veces sin cansarme

Desde que me enteré de que Almodóvar volvía a la comedia screwball babosa, me dieron ganas de repasar sus cosas ochenteras. Todo aquí es idiota, y todos los personajes son adorables. Ay, la Pepa. Tan sexy. Antonio Banderas tan joven. Belleza.

Almodovar has never been one to take himself too seriously, and "Women on the Verge of a Nervous Breakdown" -- while rougher than the darker, more polished and poetic films he was to later make in his career -- is also a fun, funny, fairly realized work where the surrealism and artificiality of its world is part of the charm. More than just a sign of what was to come.

35mm anniversary screening at the Brattle. Absolutely killed the place. I never want to see an Almodovar without a crowd in tow again.

Γέλιο.Πολύ γέλιο.

Almodóvar siempre encajando las piezas a la perfección. Me parece una buena película si se toma como comedia, que es el género al que pertenece. Le faltan algunos elementos, y por eso no le doy quizás una estrella más.

Lo que sí es cierto es que el director logra definir el estilo que lo caracterizaría con sus otras películas, un clásico drama con algunos toques de humor.

Las actuaciones estuvieron aceptables, excepto la de Antonio Banderas, que no me gustó para nada, y nunca lo ha hecho.

Un Soundtrack que cumple apropiadamente con el ambiente de la película. En consecuencia, se puede disfrutar perfectamente si, como dije anteriormente, la tomamos como comedia.

Almodóvar's Women on the Verge of a Nervous Breakdown starts out slowly but eventually crescendos into a brilliant, breathless third act. Constructed as a melodrama and executed as a screwball comedy, Women on the Verge is an outstanding film that toys with genre boundaries and feminism. Some top-notch performances, especially from Carmen Maura as the heroine Pepa Marcos, and Maria Barranco as her feather-brained model friend.

There are few better purely fun films out there.

Movie #374 of "1001 Movies You Must See Before You Die". I've decided to watch them all in couple of years.

My first Almodovar and (I'm guessing) a fantastic gateway into his body of work. His sensibilities (aesthetic and narrative) are squarely in my wheelhouse, so it's a mystery why it's taken me this long to make a proper introduction. The film lavishes the viewer with escalating comedic chaos that culminates in a cathartic release both genuine and well-earned. The frivolous suddenly turns poignant and mature, and my eyes maybe gleamed a little bit. Highlights: a nebbish Banderas; learning that gazpacho is a thing; Lucia's hair after a helmet-less motorcycle ride.

I love the scenes with the taxi driver.