User reviews

Released internationally as 'High Heels', the actual title of this Pedro Almodóvar comedy translates as 'Distant Heels', an idea of significance towards the end of the film as events take a sharp dramatic turn. Whatever the case, summing up what exactly this film is about is not easy as it is an unpredictable ride throughout (in the best sort of way) with lots of surprise revelations and plot twists and turns; the characters also often do what we least expect of them. In short, the film might be best thought of as Almodóvar's take on 'Autumn Sonata' - which even gets explicitly mentioned - as the plot focuses on a successful television news anchor and her resentment of her diva mother who traumatised her as a child. As the plot unfolds, we learn that she married one of her mother's former beaus. Did she do it for revenge or to humiliate her mother or was it simply a coincidence? As the plot thickens and something happens to her husband, even further questions arise with regards to her intentions, and it is perhaps best not to say more to avoid ruining a fresh experience of the film. While the narrative sometimes feels all over the place and not everything that occurs is especially credible (especially the jail that seems more like a summer camp!), the film has an undeniable charm to it. Miguel Bosé also has one surefire interesting character that raises questions about personal identity and role-playing, which is part of what the film is about: the two female protagonists coming to accept their roles of mother and daughter, career aspirations and other concerns aside.

I like the films made by director Pedro Almodóvar and 'Tacones Lejanos' ('High Heels') is no exception. Even his lesser film ('Kika') have something to enjoy, most of all because they are so very different from other films you have seen. Like a Tarantino-film, an Almodóvar-film is sort of like a genre on itself. Although Almodóvar reached greatness with 'Todo Sobre Mi Madre' and especially 'Hable Con Ella', his earlier films like 'Mujeres al Borde de un Ataque de Nervios' and this one are a lot of fun. He mixes so many genres here, uses symbolism in such an effective way, the least thing it does is being original. I guess there is nothing wrong with that.

The story involves a daughter Rebeca (Victoria Abril), her famous mother Becky (Marisa Paredes) who returns to Spain after fifteen tears, a murder that could have been committed by Rebeca, Becky and a third suspect, Judge Domínguez (Miguel Bosé) who is on the case, and a lot of colorful supporting characters. I could tell you more but the plot is not really the issue here. Although this films sounds like a drama, maybe a detective or a thriller even, it is closer to a comedy because of the way Almodóvar handles the absurd situations. There is a scene where Rebeca, an anchorwoman, tells something about the murder where she herself is one of the suspects. Next to her sits a woman who does the news in sign language. The whole scene, which is dramatic in what it tells us, is one of the best moments of comedy I have seen.

Of course the themes here are really dramatic. Not only we have the murder, we also have Rebeca who has wanted to impress her mother her entire life. It is just that Almodóvar creates a world that reminds you of a soap opera that can bring comedy out of every dramatic event. That his film is more serious than you might think is proved by the symbolism he uses. Scenes where Rebeca is temporarily in prison show her in a symbolic way how she feels. In another beautiful scene we see Rebeca driving her car, but it is the wall on the background that draws her attention. It is like her entire life is written on the wall. Almodóvar who loves to use bright colors finds an effective way here to use them, representing the state the character is in. It is not only effective it is quite beautiful to look at as well.

Great stuff here from Mr Almodovar, with Victoria Abril in full effect. The result is a technicolour rollercoaster of a film. And they all break into song and dance too, way before Woody Allen tried it.

Strange that this film is so little shown, given the popularity both of the earlier "Women on the Verge..." and the recent "All About My Mother". If you can catch it at the cinema, all the better because the pace and colour is quite dazzling.

Almodovar successful and overwrought melodrama about a love/hateful relationship with the ordinary rare characters , twisted situations and eccentric events. A girl's veteran mother (Marisa Paredes) go back after 15 years abroad to perform in Madrid and to find her estranged 27-year-old daughter (Victoria Abril) who left her as a child , the latter has married one of her old boyfriends. They attempt to mend their broken mother/daughter relationship and deal with their common lover (Feodor Atkine) . The reunion after fifteen years is difficult , not least because Rebecca has married her old boyfriend . Things go wrong when there happens a crime and a rare judge (Miguel Bose) starts investigating . A mother, a daughter, a lover. Relationships can be murder.

Agreeable film full of feeling , outlandish characters , haunting mood-pieces , Spanish Neo-realism , and sense of style but not totally satisfactory , including conventional pitfalls , profanities and a lot of sexual scenes . The picture deals with a veteran singer returns after 15 years abroad to perform in Madrid and finds her troublesome daughter , stablishing a physical and problematic relationship between them . It is sad and amusing , but like the rest of the movie mostly sad . This results to be an off-the-wall as well as semi-ironic melodrama , including familiar absurdities , dysfunctional roles and many other things ; featuring two feminist heroines of classical proportions . The picture is pretty well but turns out to be inferior to Almodovar's subsequent entries such as ¨The skin I live in¨, ¨Volver¨ , ¨The bad education¨ or ¨Talk to her¨. The result is undiluted scabrous drama , crazy strings of plots , sharp images , plenty of colorful images and marvellous songs from Luz Casal . Filmmaker piles up on the contrivances , turns and twisted events so that the picture to have success . It's a piquant look at a peculiar family involving strange and complicated situations during its half an hour runtime . And being influenced by American Romantic Dramas and especially by director Douglas Sirk . Nice interpretations by all cast , outstanding Marisa Paredes , Victoria abril and Miguel Bose. Furthermore , a notorious support cast such as : Anna Lizaran , Cristina Marco , Féodor Atkine ,Miriam Díaz-Aroca , Pedro Díez del Corral ,Bibiana Fernández , among others . Enjoyable musical score by Ryuichi Sakamoto ; adding some wonderful songs . Brilliant and luxurious cinematography by Alfredo Mayo.

The motion picture was realized in his peculiar style by Pedro Almodovar ; he often uses symbolism and metaphorical techniques to portray circular story lines , though here he directs a special melodrama , including his ordinary touches . Almodovar directs throughout with splendid zip and he usually portrays strong female characters and transsexuals and along his career getting some important international prizes . His first feature film, Pepi, Luci, Bom (1980), was made in 16 mm and blown-up to 35 mm for public release . In 1987, he and his brother Agustín Almodóvar established their own production company : El Deseo, S. A. The "Almodóvar phenomenon" has reached all over the world , making his films very popular in many countries . Oscar-winning Spanish director Pedro Almodovar who made successes such as Labyrinth of passions , Law of desire , Women on the verge of a nervous breakdown , Bad education , All about my mother , Talk to her , Broken embraces , The Skin I Live In and many others . The latest from acclaimed Spanish director , Pedro Almodovar's I'm So Excited (Los Amantes Pasajeros) competing for the inaugural best European comedy honor during the upcoming 26th edition of the European Film Awards . And his last hits as Julieta and Dolor y gloria with Antonio Banderas .

A girl's mother returns after fifteen years to find her daughter has married one of her (the mother's) old boyfriends. They try to mend their broken mother/daughter relationship and deal with their common lover.

Roger Ebert said that "Pedro Almodóvar's films are an acquired taste, and with High Heels I am at last beginning to acquire it." I can understand this. Some of his work I like an some I think is just alright. This film happens to be one I liked, combining the Almodovar use of color with some interesting plot and character twists.

I do not recall if I have seen Douglas Sirk's "Imitation of Life", which this film was in part inspired by. Either way, it makes me want to see it now because Sirk was one of the best of his generation and it is no wonder he has inspired so many (though mostly in Europe, it seems).

The more Pedro Almodóvar movies that I see, the more confident I feel in saying that he either doesn't understand consent or deliberately chooses to ignore its importance. Most of his efforts contain at least one instance of romantically or comedically coded rape (I'm not sure which is worse), even those which don't focus on sex as their primary subjects, and they almost always end on an awfully gross note of "well, she didn't want it, but she enjoyed it and is actually thankful for it when all is said and done". The same is true of 'High Heels (1991)', a movie in which the main character literally thanks her abuser after he forcefully performs sex acts on her while she's in an inescapably vulnerable position. The scene is played, I think, for laughs and is glossed over to the point that its importance is minor (and even when it is referred back to, it's treated as nothing more than a sex scene). What's more, that abuser is eventually positioned as the main romantic interest for our protagonist, the character who it's implied she will spend the rest of her days with. Needless to say, that's yucky. This trend is disconcerting, especially because it comes from a filmmaker who so often focuses on female characters and is considered by many to be somewhat feminist (though a brief look at his work reveals he certainly isn't, at least as a creative). The worst part of it is that it's such an insignificant element of the overall affair that most people probably wouldn't consider it a big deal - unlike in, say, 'Tie Me Up! Tie Me Down! (1989)', where the non-consensual nature of the central relationship is key to the plot and the picture's controversy is clearly purposeful on Almodóvar's part - and are therefore likely to gloss over it as merely an outdated element of an otherwise solid experience. It puts a bad taste in your mouth, though, and is certainly worth talking about. There isn't really all that much else to say other than "boo, don't do that".

Moving on from something as distasteful as that is difficult, and it does dampen the viewing experience for me as well, but it would be remiss of me to review the movie without, well, reviewing the movie. So, I'll move onto the other aspects of this piece. The feature is a melodrama about a woman whose famous mother returns to Madrid after fifteen years. The woman's husband is an ex-lover of her mother's, which naturally causes some tension, and - after a night in a drag bar - things seem to go downhill for all three of them when someone turns up dead. The picture has elements of dark comedy but these are underplayed to the point of near non-existence, making it one of the drier entries in Almodóvar's filmography. Luckily, it's still suitably campy and strikingly colourful, with even its prison sets and costumes looking like something out of a fashion magazine. The story is oddly paced and randomly includes a time jump that skips past most of the drama's most potentially interesting aspects, opting instead to shift its focus to being a whodunnit with just three suspects and only one who's ever really considered to be the culprit. You don't really care about the mystery at the movie's core because all it does is take away from the juicy melodrama that rears its head in a few scenes and is clearly the film's highlight when it does. The mother-daughter dynamic is delightfully high-strung and well-acted, with unspoken truths often bubbling to the surface before being repressed back down below. There's a pretty major plot twist that can be worked out with ease if you're paying attention, which isn't as big an issue as the fact that the flick seems to rely on this reveal for the majority of its narrative catharsis yet doesn't realise that it isn't actually all that imaginative or impactful. Still, there's plenty to like about the picture and it's relatively entertaining throughout. It has a pleasing aesthetic, is subtly idiosyncratic and features some strong performances. It's unmistakably Almodóvar, for better or worse, but it certainly sits somewhere in the bottom third of his filmography in terms of quality.

A very enjoyable, intricate tale that elevates its somewhat mundane plot by turning things in a new direction whenever it starts to get stale. It's got a lot of the usual Almodovar stamps: high melodrama mixed with black comedy, insane coincidences, twisted relationships and of course dazzling use of color. Early on the theme of mother-daughter rivalry reminded me of AUTUMN SONATA, so I was quite tickled to hear the relationship being directly compared to that film later on. The movie doesn't have the magic of Almodovar's best works, perhaps because the performances as a whole aren't that impressive. However, even second-tier Almodovar is better than most stuff out there... it's got some really good laughs and an engaging series of twists and reversals. The out-of-nowhere prison dance scene is delightfully offbeat (although I felt like Almodovar was actually holding back a bit).

(1991) High Heels (In Spanish with English subtitles) DRAMA/ COMEDY

A movie made like a mature adult oriented soap opera, where they're second chances, murder, and new ironic revelations about an specific events, where this one is a cross between "Live Flesh", "The Matador" and "All About My Mother". Supposed to be a serious drama film like a soap opera except that the revelations using strange erotic behavior is somewhat limited on this film and not as daring enough in comparison to other films Almodar has done. Would not work for people who're not familiar with director Pedro Almodars other work which is not saying very much. The second of three movies actress Victoria Abril collaborated with Pedro Almodovar.

Do you have one singular childhood memory that would seem insignificant to the rest of the world? Rebeca does and it has defined her life of trying to be somebody that her famous mother will notice.

Rebeca and Becky's final realization of each other's own self finally comes in the unselfish gesture that defines motherhood -- sacrifice.

Although this movie is listed as a drama, the madness surrounding most of Almodovar leading ladies is ever present. Raunchy and racy, as well as tender and sweet, this movie is well worth the look if you can find it.

Entre todas las películas que ví del grandísimo Almodóvar esta es la que mas me entretuvo.

No hay un momento de calma, todo es tan extraño y único. En esta película hay de todo un poco y para todos los gustos: un asesinato, un detective drag, muchos mommy issues y un guión con la magia especial del gran Pedro Almodóvar.

I saw this movie the other day in a film school class, and I hadn't seen an Almodovar movie before but went in expecting it to be good. Unfortunately, it turned out to be a pointless film with only a couple of laughs mixed in with two hours of sheer boredom. High Heels is just a collection of random scenes that might have worked in their own separate movies but together don't add up to any kind of meaningful whole at all.

Or so I thought. Then, the next day, my film professor spent the entire class period explaining all of the movie's hidden little details, like how the mural depicting stereotypical flamenco dancers in the background of the drag queen scene is some kind of commentary on the lack of identity that Spain as a nation has developed under fascist rule. Apparently, the whole movie is chock full of clever little visual tricks and references like this.

Great, but you know what? It's still a bad movie. It takes more than depth and complexity to make a good film--you still need to give the audience a reason to keep paying attention, something to interest the viewer enough to actually care about all the subtle tricks. High Heels gives us strange, off-beat characters but keeps them in mostly mundane situations recycled from other movies, and Almodovar doesn't seem to be using them to make any kind of point. What is the significance, for example, of the Hitchcockian surprise character revelation that occurs towards the end of the film? Why is that even in there? Just to surprise us?

There is one funny scene that has to do with a news broadcast. And that's it, that's the only entertaining moment. The rest of the movie is just nonsensical filmic references and visual cues that apparently exist only for the sake of showing us how smart Pedro Almodovar is. But no matter what my film professor says, it takes more than self-indulgent trickery for a movie to be good.

I have seen almost all Almodovar films, as he is a unique and eccentric director with vision. Eccentricity is not the case with this one. Humour is almost absent. Maybe you have by now figured out I prefer other, more humorous and provokative Almodovar films. Not that it's no good. It is, with tight acting and nice storyline. It didn't touch me though, as it was supposed to, and as a friend suggested. See also other Almodovar reviews by me to see what I mean.

For something completely different from this, see the next film of Almodovar, 1993, KIKA, as well as LABYRINTH OF PASSION, MATADOR. Blasphemous, humorous, explosive! Whatever the case, I should recommend this to people who saw other more exessive Almodovar films and didn't like it. This is much more serious, with firm storyline and great acting by everyone, as well as TALK TO HER.

Aldomovar is one of the few male directors on the planet who is a true artist and painting a portrait with female emotions. Using garish sets, outrageous humor, and witty songs, Aldomovar expertly juxtaposes the absurdity of what we fleetingly but devoutly believe is truly important with eternal truths. If you speak Spanish, then you are privy to another layer of wry duality that really doesn't translate through the subtitles. Abril is remarkable as the returning mother finding things turned upside down and ultimately doing it one or two better. Highly recommended.

An interesting mystery plot that is made a special film due to Almodovar's unique style of directing, his obsessions, his actresses and, maybe, above all the music investment.

A District Attorney who performs queen-shows, a daughter in the shade of her mother's glory, a mother under the pressure of her own glory, both involved with the same man (who is involved with other women as well), a different aspect of the TV and a different use of the TV-set. In addition two incredible songs "Un ano de amor" and "Piensa en mi".

Over the past forty years, Pedro Almodóvar has been a leading figure in Spanish cinema. His movies frequently address relationships and lingering problems in Spain. A key element in his works is the complex female characters. One example of his movies is 1991's "Tacones lejanos" ("High Heels" in English), about the relationship between a news broadcaster and her mother, a torch singer whom she hasn't seen in years. Some shocking things are coming.

The English title might make it sound like "The Devil Wears Prada", but it's nothing like that. The Spanish title evokes the strained relationship between the two women. In addition to them, every character has something to add to the story.

I recommend this, as I have every Almodóvar movie that I've seen (I haven't seen every one). The characters' profundity is a sharp contrast to the cardboard cutouts in Michael Bay movies. Moreover, it's good to see female characters who aren't just wives and moms.

Like a multilayered cake, filled with delicious flavors and rainbow colors that satisfy the palate and the eyes, this film is so round and perfect that it's impossible to think it could have been better.

I saw it when it came out and tonight I saw it again for the second time, the impression was as fresh and fulfilling as the first time around. The acting of both Marisa Paredes and Victoria Abril are true tour de force performances, something to be seen to believe it, although everybody in this film is picture perfect. The cinematography, the editing, the acting, the sets, the music and the wardrobe, all top drawer.

There are not as many humorous scenes here as in other Almodovar films, but they are as accomplished as any he has done before, and it must be very unfortunate for non Spanish speaking audiences because most of the humor is spoken, something totally untranslatable in subtitles, and that is something palpably noticed when reading some of the other reviews, that missed completely the totally Spanish flavor and humor.

Marisa Paredes must have been something out of this world as a young woman because even here, in some close ups the perfection of her features are breathtaking and as an actress I'm convinced she must be one of the great ones, just incredible.

Bibi Andersen (the tallest woman in the jail scenes) was at the time the best known female impersonator in Spain and he/she looks really stunning with a figure that any woman would gladly kill to have.

I adore Almodovar film making, so to me this is his best film ever, but then I think the same about all the rest of his cinematography.

This the only movie that I have seen of Almodovar.

It is not a work that makes me jump of emotion, but it is a good history about murder, hate and pardon.

Good performances and great music, but a little aggressive in some topics as the sex, but that doesn't remove a great roguery divided in each scene.

There is something that i love of this movie and it is the first Miguel Bose appearance singing a song in a club. I love that song! And believe me, I sing that song the whole time.

And there is another wonderful thing and is about the pardon between a mother and her daughter that had to live around an unconscious fight caused by a work.

At the end she reconciles with her and they finish the long discussion with two heels that go away framing a great shade in the sick women wall. The wall of the woman who forgives and is forgiven.

In our Spanish Cinema class we have watched many Spanish movies. Most of these movies were boring and had horrible endings, but Tacones Lejanos wasn't bad. Pedro Almodovar is a good director and both High Heels and Women on the Board of a Nervous Breakdown held our class' interest, and did not disappoint us too badly with their endings.

I had no idea what i was off to see. I was living in Cambridge which has a good Arts Film Circuit and it was cheap to go at the time. I cannot remember laughing for so long over a foreign film that was not intended as a basic comedy. It had drama and a style that was really unusual at the time, prefiguring the 60's retro of the mid 1990's onwards (we are almost out of it now) No i did not get the references to past films but now i have been made aware of them i shall look a bit harder.I have seen most of his films since and in general they do improve on most levels but this was so funny and hooked me, and my friend. Wish i could get it on DVD

I Saw this film in my Spanish Cinema Class...In school....My Teacher Mr.Moore says that this is one of his favorite Pedro Almodovar movies...I think it was pretty good...Some of the parts were a little out there but then again there is always a part in his movies thats just totally out there in some way. I have to say that Pedro Almodovar is probably my favorite Spanish Director out there.