For those who may not know, early films by Pedro Almodóvar were pretty much underground affairs – he was part of Spain’s counter-culture, and also fronted a music band. The 1982 drama, “Laberinto de Pasiones” [Eng. Title: Labyrinth of Passion] may have been his second full-length ‘mainstream’ film, but it still retained the borderline irreverence of his early period – he was after all, an ‘outsider’ indulgently lapping up the sweeping changes that his country was witnessing at the time. There is a reason why many (like me) prefer this phase of his early works. His later works may no doubt be far more accomplished, but the rawness and freedom of his earlier works are like a breath of fresh air, filled with conviction that nothing ‘awful’ could ever happen to the youth of Spain because they now have the right to express themselves as never before.
Storyline:
The film is essentially a series of interconnected sketches involving a gay exiled prince, his family, a gay terrorist looking to kidnap him, a laundryman and his daughter, and her fascination with a nymphomaniacal pop-singer, who’s the daughter of an eminent gynaecologist. I won’t explain the plot, but rest assured this is one of the most hilarious, outrageously twisted, and totally irreverent films that you’d get to see. Some of the gags are too shocking to even be taken seriously. And Almodóvar also makes an appearance as his punk-rocker self, complete with micro-skirt and facial make-up, performing at a gig with his other group members..! 🙂
The film showcases the genius of Almodóvar in every way, and is a must-see for anyone interested in his films. Needless to say, Highly Recommended Viewing..!
The Nudity:
There are scenes of nudity from male actors such as a young Antonio Banderas, and Imanol Arias, and also from actresses Marta Fernández Muro, who plays laundryman’s daughter Queti, and Cecilia Roth who plays nymphomaniac Sexilia.
Pedro Almodóvar’s early classic “Laberinto de Pasiones” features some memorable scenes of nudity from Marta Fernández Muro and Cecilia Roth, which are also shocking in context of the film.
.
.
