Matador Page #2

Synopsis: An ex-bullfighter who gets turned on by killing, a lady lawyer with the same fetish and a young man driven insane by his religious upbringing - these are the main characters in this stylish black comedy about dark sides of human nature.
Genre: Drama, Thriller
Director(s): Pedro Almodóvar
Production: Cinevista/World Artists
  6 wins & 6 nominations.
 
IMDB:
7.0
Rotten Tomatoes:
89%
NC-17
Year:
1986
110 min
Website
437 Views


Get to the point.

Very well.

Are you Eva Soler?

- Yes, I am.

Do you know Angel Gimnez?

- Yes, we're neighbours.

You didn't behave very well, Angel.

How can she work now?

Madam, please don't interrupt.

Did Angel rape you last night?

- No, he tried to.

He says he did.

- No. He came between my legs.

I see.

Do you mind telling me

what happened?

Madam, you may wait outside.

- Who, me?

Yes, this isn't very pleasant.

It isn't, but I wasn't born yesterday,

and Eva tells me everything.

Besides, this isn't the first time.

How many times have they tried?

Three or four?

- Three.

What happened?

I went out. I suppose

Angel followed me.

What time was it?

- Eight o'clock.

You're positive? This is very

important. Think about it.

Absolutely, I had a date.

- Very well, go on.

He dragged me to

a dead-end street...

and threatened me with a knife.

You know the rest.

While he was trying...

he ejaculated.

Anything else?

Yes. He said he was sorry

and then fainted.

What about that wound?

Did he hit you?

No, I slipped and fell afterwards.

Can we go now?

- One moment.

Do you want to report it?

- No. What good would it do?

But you've got to report it.

Be quiet, you've done

enough for one day!

Your poor mother,

she who is so pious!

I'm sorry, Seora, I really am.

Well, control yourself next time.

If we weren't here, I'd tell you

a couple of things! Goodbye.

How strange... he seems happy.

What is it?

You've never seen a dead man?

I've seen a lot of them.

Why are you shaking?

Did you know him?

- Yes.

You did?

How did you know him?

I killed him.

What?

At his place.

He was very excited.

He just wanted to possess me.

He undressed right away.

And when he was about to take me...

I killed him.

And this one?

Did you know him?

It was more or less the same.

Tell me about yourself.

What do you do?

I'm going to college

for my mother's sake.

But I want to be a bullfighter.

You like bulls?

I take classes with Diego Montes

but she thinks I take gym.

Diego Montes?

Angel...

I'm going to show you some

pictures. Study them closely.

Please take your time.

Do you know them?

They went to class with me.

I killed them too.

You?

- Do you know me?

No, I don't think so.

My name's Maria Cardenal

and I'm your attorney.

Why do you want to defend me?

- I think you're innocent.

Well, you're wrong.

I'm more guilty than you think.

Just ask my mother.

I'll speak to her.

So far we only know you

tried to rape Eva Soler.

Isn't that enough?

She's my maestro's girl.

By the way...

call him and tell him I'm sorry...

that it won't happen again.

Your maestro is Diego Montes,

isn't he?

Yes. Do you know him?

I saw him fight a bull once.

Was he very good?

- For me, he was the best.

Let's get back to business.

From now on, I'll make all the

decisions. Is that clear?

All right, I'll do as you say.

I'm glad to hear it.

Don't admit to any more murders.

Four are enough to start with.

You're right.

Don't open your eyes. Play dead.

Luckily, the police have arrested...

Eva soler's rapist, Angel Gimnez...

Bastards! They said

they'd keep it quiet.

...who is also accused of murdering

Ester Dominguez, Ana Vela...

Raul Ordoez and Pedro Soto.

His defending attorney

is Maria Cardenal.

Naturally, several prominent

feminists...

were outraged on learning

about this.

Miss Cardenal stated that any

Spanish citizen...

has the right to an attorney...

thus proving her cold-bloodedness

and cynicism.

F***!

Can you drive me home?

Who would have thought...

- I don't believe it.

If he were a murderer, he'd have

killed me and raped me too.

Poor baby, it must have been horrible.

- Let's forget it.

I'd like to but the cops won't let me

Have they called you?

- Not yet, but they will.

Can I take some sausages?

Mum loves them.

I feel sorry for Angel, poor thing!

Don't be silly, he had a knife.

Are you jealous?

- Angel is crazy.

So am I, but about you.

Come on, let's go.

May I see madam?

I don't know. I'll go and see.

Ma'am, the girl we saw on television

wants to see you.

I cannot see her.

- I don't think she'll give up.

Tell her I'm busy, I can't see anyone.

I must be alone with my grief.

Madam is out.

What do you mean?

I just heard her speaking.

Yes, but she can't see you.

She's in a meeting.

I'll stay until she sees me.

Very well. What do you want?

I'm Maria Cardenal.

- So what?

I'm your son's attorney.

My son must accept

God's punishment.

God won't be in the court, Seora.

Do you happen to be an atheist?

Shall we remain standing

or do we sit down?

Very well, come in, but we have

nothing to talk about.

I won't give a cent to an attorney.

I didn't come to discuss my fee,

but Angel, your son.

He's not my son!

Such a monster cannot be my son.

God cannot ask me to bear so much.

- Forget God for a moment.

I need information.

What can I tell you?

I did my best to save him.

He wasn't like other boys.

As a child, he had dreadful visions.

There was evil inside him.

I tried to make him fear himself

but to no avail.

Do you realize your son's situation?

Do you realize mine?

You don't happen to be in jail.

Grief and shame

are the worst of all jails.

How can a mother refuse

to defend her son?

You should know that there are

people one cannot defend.

That's true. I'd never defend

someone like you.

Father!

You always said you knew how to

shoot but I never believed it.

I love you, Luke.

Don't cry, Pearl. Don't cry.

I had to do it.

I understand.

Let me hold you in my arms.

Yes, hold me, Luke.

Why are you following me?

This is the men's room,

didn't you notice?

You shouldn't trust appearances.

Let's have a drink

in a sweeter-smelling place.

I'm not thirsty.

But I want to speak to you.

All this is yours?

I bought it from the Town Hall.

It's so peaceful and sinister.

Do you like it?

Very much.

It must have cost you a lot.

Money doesn't worry me.

I've made enough.

It can't have been easy.

I've never done anything

because it was easy.

You like bulls?

I prefer bullfighters.

- I'm glad to hear it.

What I like is a job well done.

- Me too.

Can I have it?

- No. I can give you some sausages.

I'd prefer something personal.

Will this do?

- Better than nothing.

You teach with video?

- I tape the kids.

Angel!

I saw him this morning.

- I saw you on television.

Why do you defend him?

He says he's guilty.

I don't think he acted consciously.

What about when he raped my girl?

He was imitating you.

You're his maestro.

Don't be silly. He's dangerous.

Maybe... but he's so lonely.

I'm lonely too.

- You too are dangerous.

You wanted to kill me?

I must defend myself

from aggressors.

Give me my pin back.

No. I think I deserve it.

When about to kill,

one cannot hesitate.

It's a golden rule of bullfighting.

If that's a wedding dress,

I'll eat my hat.

Hide that scar.

They might think I beat her up.

Absolutely not! Disfigure her?

Nobody's going to disfigure my baby.

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Jesús Ferrero

Jesús Ferrero is a Spanish writer born in 1952 in the Spanish province of Zamora. After completing his secondary education he studied literature in Zaragoza for a while and then moved to Paris to study ancient Greek history at the École des hautes études en sciences sociales. Jesús Ferrero, like Javier Marías or Antonio Muñoz Molina, is a writer of that new Spanish prose which developed after La Movida Madrileña (Madriliene Movement), one of the early post-modern currents. He has written numerous novels, poetry collections, short stories, essays and screenplays. He is, among other things, co-author of Pedro Almodóvar's film Matador. He is one of a group of well-known Spanish novelists, which includes Julio Llamazares, Javier Cervas, and Andrés Trapiello, who have published fiction in the vein of "historical memory", focusing on the Spanish Civil War and the Francoist State.Ferrero's debut, Chinese-set novel 'Belver Yin' (1981) was one of the most successful and critically acclaimed in post-Franco Spanish literature, and helped him to establish himself as one of the major writers of La Movida years. With novels set in Tibet ('Opium', 1986), Barcelona ('Lady Pepa', 1988) or Berlin ('Débora Blenn', 1988), Ferrero continued during the eighties a literary exploration characterized by eclectic intertextuality. Fererro’s book 'El Efecto Doppler' (1990), follows a precise choreography which shows the protagonist, Darío, caught up in a complex tale. During an evening meal in Paris the young Rosaura blows her brains out in front of the diners: "Suddenly she looked at me and took a pistol from her bag. Without stopping her whistling she put the weapon to her temple." Every gesture, every look follows a kind of message, and Darío, Rosaura’s cousin, takes it upon himself to create a meaningful entity from the seemingly unconnected clues. In calm, very precise language and in a very detailed, cleverly devised structure Ferrero tells in his novel a gripping love story and at the same time makes us consider the limits of our perception. Precise, too, is that view which the hero has in the novel 'El diablo en los ojos' (1998). Since young Leo Salgado has been focussing his camera lens on his own family, he senses the great influence of this instrument which is able to record everyday trivialities and their most intimate facets. The camera here is the up-and-coming creative genius which captures, with almost cruel clarity, the disintegration of the family. The action of Jesús Ferrero’s novel, 'Juanelo o el hombre nuevo' (2000), is set in Toledo in the 16th century. The protagonist in this fantasy-tale, a good-looking youth, gradually comes to discover the terrible history of his origin as he becomes more and more involved in events in Toledo. It becomes clear that he is an artificially created human being, a golem, a new kind of human being. The novel is a good example which again makes clear Ferrero’s basic themes: "Destruction begins with the first tears in the cradle and ends when, in our parchment-like hands, time dies." Jesús Ferrero’s writing shows a rebirth of the old myths and also tells of the banal, sometimes absurd everyday stories. It reflects the utopias of the twentieth century like those of 'Metropolis'. Ferrero’s style has been seen as close to that of Cervantes or Kafka. The author loves adopting classical narrative patterns while also modernizing and using them aesthetically with new stylistic features. Since 1995 he has been living in Madrid where he teaches literature. more…

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Submitted on August 05, 2018

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