Pedro Almodovar’s “The Room Next Door” immediately sets up its premise.
We meet Ingrid (Julianne Moore) signing copies of her new book. Ingrid learns that her dear friend Martha (Tilda Swinton) has been diagnosed with stage 3 cervical cancer. The two rekindle their friendship (some time has passed since they last saw one another) and eventually become roommates.
As Martha’s health worsens, she warns Ingrid of what is ahead, specifically that if her door is closed in the morning, it probably means she has died.
“The Room Next Door” is Almodovar’s first English-language film. It won the Golden Lion at the Venice Film Festival and is based on Sigrid Nunez’s 2020 novel, “What Are You Going Through.”
I had to see this one twice, as I wasn’t sure it worked the first time. I initially felt that the dialog was too mannered and that the presentation was too stagey and not cinematic enough. Also, considering how heavy the material is, I was unsure that the lightness of tone and dialed-down style (Almodovar’s films are usually saturated with color) fit the story.
Upon revisiting the film, I found that the opening scene not only set up the story and themes perfectly (a common trait in Almodovar’s work) but I was stunned by an exchange between Ingrid and a customer that I somehow missed the first time:
While autographing her latest novel in the bookstore, a customer walks up to Ingrid, hands her a book and, as Ingrid signs it, the customer asks, “Can you please write, It Won’t Happen Again?” The customer then assures Ingrid that, indeed, whatever happened, it won’t happen again.
The moment hit me hard. Despite how many of Almodovar’s films can be described as melodramas (not always a complimentary word), his best works aren’t just richly cinematic but deeply compassionate about his characters.
“The Room Next Door” is no different.
There are some flashbacks, but most of the film is like a theatre piece, as Martha and Ingrid discuss the past and reflect on choices they’ve made. The flashbacks feel like mini-melodramas, but there’s no camp, as Almodovar plays down the pulpiness as much as possible.
Anyone who remembers why Almodovar’s “Tie Me Up! Tie Me Down!” (1990) was an early recipient of the NC-17 rating will be as surprised as I was to how much restraint there is here.
Because Almodovar wastes little time getting to the core of the film, which is the extended conversations shared between Ingrid and Martha, the film has little filler, invites us to enjoy the conversations and avoids being depressing. Alberto Iglesias’ Bernard Herrmann-esque score is an interesting touch, especially since this isn’t a thriller.
Let’s talk about Almodovar’s prior films, which typically showcase visual symmetry and costumes and sets that are color coordinated to perfection. You might forget the plot of an Almodovar film, but you won’t forget how it looks and makes you feel.
His best films aren’t just riveting stories with terrific performances but true expressions of cinema.
I’d cite the top of hill being Almodovar’s “Volver” (2006), “Broken Embraces” (2009), “The Flower of My Secret” (1995), “The Skin I Live In” (2011) and his most recent masterpiece, “Parallel Mothers” (2021). Almodovar also has an affinity for Hitchcock, hence his most shocking films “The Skin I Live In” (featuring a towering, career-best turn from Antonio Banderas) and “Bad Education” (2004).
While Almodovar’s latest is far less lush than one would expect from such a maestro, it’s among his most heartfelt. Note the scene where Ingrid meets an unexpectedly sweet, sensitive personal trainer. The movie doesn’t need that scene but I’m glad it’s there, as it gives us another window into Ingrid.
Swinton’s American accent is flawless, as is her chemistry with Moore. To no one’s surprise, both actresses are excellent here. “The Room Next Door” likely sounds like a disease-of-the-week TV movie in plot description, but Almodovar’s handling of the material, even as it defies our expectations of him, elevates it above the ordinary.
The flashbacks aren’t always great and the scenes with John Turturro, playing Ingrid’s friend and former lover, succeed in opening up the story but the film didn’t need them. The Turturro scenes reminded me of “Mindwalk” (1991), a three-person film where a conversation both existential and pretentious lasts the entire running time.
I love films where characters have great conversations that make the audience feel like coffee shop eavesdroppers. Also, it’s a welcome touch to have movie dialog that isn’t always about the plot.
Nevertheless, even with an actor this good, we don’t need the Turturro scenes. Turturro’s character suggests, halfheartedly, that Martha’s ailment is a symbol of the post-pandemic planet, another misstep.
On the other hand, there’s a great supporting role from Alessandro Nivola, who energizes the third act just when you’d suspect the film would be winding down.
View this post on Instagram
Whenever the focus is on Martha and Ingrid on their terms, the film works and succeeds in exploring the issue of being aware of one’s death without allowing it to ruin the life you have. The key visual of a closed door is enough to induce dread and allow enough of heaviness to linger in certain moments.
There’s also a nice reference made to both John Huston’s “The Dead” (1987) and James Joyce’s 1914 story (reading the latter in college was a game changer for me as a young writer).
My overall feelings towards “The Room Next Door” are somewhat mixed, as the best and lesser qualities go hand in hand. Nevertheless, any film from Almodovar is an event, as is the opportunity to watch Swinton and Moore deliver a master class in acting.
The strongest scenes here aren’t the ones that push the plot but those little surprise occurrences that you feel deeply afterward.
Three Stars
The post ‘The Room Next Door’ May Surprise Almodovar Fans appeared first on Hollywood in Toto.
Leave a Reply
You must be logged in to post a comment.