More specifically, “Bad Education” pays tribute to Billy Wilder’s “Double Indemnity” and to Hitchcock’s “Vertigo.” Like those classics, “Bad Education” is about obsessive love, illicit affairs, double-dealing, and scandalous revelations. In this picture, however, he goes deep inside the noir territory, mixing elements of such melodramas as “Leave Her to Heaven,” dark, excessive, and incestuous sagas like “Mildred Pierce,” and obsessive romances like “Laura.” Like American film noir, “Bad Education” draws heavily on the hard-boiled literary tradition, defined by its crime-thriller elements and critique of societal mores. Thematically, in previous films, Almodovar was inspired by, and borrowed from, Tennessee Williams, Douglas Sirk, and Joseph L. It blends noir and crime elements in an erotic melodrama, laced with personal memoirs, while again exploring the issues of desire, obsession, and death. What interests Almodovar about that specific historic moment is the explosion of freedom, as opposed to the repression and obscurantism that prevailed in the 1960s, when he was growing up.ĭespite some humor, “Bad Education” is a quintessential film noir–as dark as they come.
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Though a large part of the story is set in Madrid, the movie is not a reflection on the “La Movida” of the early 1980s. Spanning 17 years, the saga begins in 1964 and ends in 1980, with one crucial interval in 1977. If I needed to take revenge, I wouldn’t have waited forty years to do so.” While he attacks the corruption and hypocrisy of the Catholic Church, that’s not what the movie is about. In a press conference in Cannes, he disclosed: “The church doesn’t interest me, not even as an adversary. He has empirical evidence on his side: sex scandals have afflicted the Catholic Church over the past decade, damaging severely its reputation. But Almodovar is not interested in settling scores with priests who continue to “bad-educate” boys like him. A priest playing the organ in the choir asks for her identity, and she confesses to have been a pupil at that school and that he (the priest) was in love with her. The origins of “Bad Education” go back to Almodovar’s “Law of Desire.” In that 1986 picture, the transsexual Tina (played by Carmen Maura) goes into the school’s church, where he had studied as a boy. Though drawing on personal experience, Almodovar insisted that “Bad Education” is not completely autobiographical. As expected, “Bad Education” was not as commercially successful as the prize-winning, “Talk to Her” or “All About My Mother, but it’s a more ambitious film, bringing together strands of Almodovar’s gay films of the 1980s with those of his more intimate and introspective melodramas of the 1990s. “Bad Education” is harsher than Almodovar’s previous works, the more accessible and enjoyable, “All About My Mother” and “Talk to Her.” However, occupying a significant place in his already rich oeuvre, “Bad Education” ranks as one of Almodovar’s strongest films. Past and present collide in complex and unexpected ways in this dark, personal meditation about the dual power of love, to liberate and to enslave, to inspire and to destroy.
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