Word: streetcars
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...third show, which opens August 10, is Tennessee Williams's "A Streetcar Named Desire...
...Manuela's image. Similarly, the night's coldness is reflected in camera angles of rain on the windows and fog in mirrors. One can almost feel the chill of the evening on one's shoulders. This clammy sensation follows the viewer as Manuel and Esteban observe a performance of Streetcar Named Desire, a play holding special significance to Manuela. Twenty years before, Manuela played Stella and her long-gone husband acted as Stanley in an amateur production. The play becomes a marker for Manuela's life, for after the performance, Esteban is run over in an attempt to secure...
...hospital's organ-transplant unit, and her darling son Esteban (Eloy Azorin). Manuela is the mom every gay, or simply sensitive, son would adore. She watches All About Eve with him, gives him a Truman Capote book for his birthday, takes him to a production of A Streetcar Named Desire. He is a sweet, giving lad with a lot of promise. Almodovar is careful and caring in setting up this lovely couple--one could build a fine movie around them--and then he is ruthless in tearing them apart. With Esteban gone, Manuela has a mission: to grieve heroically...
...Esteban's father, whom the boy never knew. There, by chance or fate, she meets her flock: Sister Rosa (Penelope Cruz), a nun who deserves many fretful prayers, and her bitter mom (Rosa Maria Sarda); Huma Rojo (Paredes), an actress who is playing Blanche in the touring production of Streetcar that Manuela and her son had seen in Madrid; Huma's druggie lover Nina (Candela Pena); and Agrado (Antonia San Juan), a transsexual prostitute who has raised artifice to a philosophy. "You are more authentic," this dear creature says, "the more you resemble what you dreamed you are." Manuela helps...
...film, when Manuela discovers her son's fate, she lets out a hoarse wail of sorrow, chilling in its nakedness. Much later she is onstage, filling in for Nina as Stella in Streetcar, and she emits precisely the same cry; she has remembered and transformed her mourning into art, and the audience applauds fervently. It is a lovely clue to one of the movie's themes, as Almodovar describes it: "the capacity of women to act without being professional actresses: to lie, to fake, to perform. Men and women both have loneliness, pain, the same kind of suffering...