Ovo definitivno nije gay film, ali se nasao na ovom blogu prvenstveno zbog ljubitelja Javier Bardema. Naprosto nakon predhodnog filma “Bent” malo komedije nije na odmet. Još Španska produkcija, pa da vam 2 sata zaista prođe u trenu i da se malo razvedrite.
Jooj kako Javier dobro glumi onog momka što ga zovete telefonom , a on priča seksi priče. Phone sex mi gledajući njega postaje privlačan. Inače ovo je prvi film u kojem on nije peder, ali posao da svojim glasom seksualno zavodi nesretne pedere koji plaćaju vruće linije ga navodi da se “uživljava” i u takve uloge. Odlučna gluma, dobra režija i dosta humora čine ovaj film vrlo gledljivim.
Malo vulgarne terminologije, ovoj komediji daju na šarmu svakodnevnog života. Pogledajte ga u dokolici. Ako očekujete gomilu golotinje toga u ovom filmu nema.
Director: Manuel Gómez Pereira
Writers: Manuel Gómez Pereira (dialogue)
Juan Luis Iborra (writer)
Release Date: 5 September 1997 (USA)
Plot Keywords: Beautiful Woman | Acting | Erotica | Homosexual | Hitman
Awards: 7 wins & 10 nominations
(Cast overview, first billed only)
Javier Bardem … Víctor Ventura
Aitana Sánchez-Gijón … Amanda (as Aitana Sanchez-Gijon)
Josep Maria Flotats … Bill / Ricardo
María Barranco … Angela (as Maria Barranco)
Myriam Mézičres … Sheila Crawford
Jordi Bosch … Belvedere
Tres Hanley … Debra Reynolds (as Trés Hanley)
Alastair Mackenzie … Oswaldo (as Sam MacKenzie)
Kiti Manver … Lucy
Fernando Guillén Cuervo … Raúl
Amparo Baró … Madre de Raúl
Emilio Gutiérrez Caba … David
Asunción Balaguer … Madre de Luci
Germán Cobos … Padre de Luci
Saturnino García … Padre de Victor
Also Known As:
Boca a acob (Spain) (approximation of original mirrored title)
Mouth to Mouth
Runtime: 106 min | Germany:103 min (cut version) | Argentina:106 min (Mar del Plata Film Festival)
As in Spike Lee’s “Girl 6,” the main character is an aspiring actor who finds that auditioning for roles is no less humiliating than being paid to talk dirty to strangers, and that the phone job may actually be the more interesting professional challenge.
So Victor (Javier Bardem), who has the look of an overgrown schoolboy along with the hunky swagger of an Antonio Banderas wannabe, throws himself into this new form of acting exercise.
Just as Girl 6 dreamed of Dorothy Dandridge, he imagines himself as Travis Bickle at critical moments and turns the duties of phone sex into an escapist ploy. Manuel Gomez Pereira’s film strives for escapism in its own uneasy way, mixing soft-core seduction with giddy pratfalls. For instance, there is a zipper mishap to interrupt one of several strained heavy-breathing episodes.
All of the characters in this Madrid-based story are predictably excitable, to the point where the film sorely needs the antic talents of Pedro Almodovar. When elaborate plot complications seem ready to raise the film to a fever pitch it never reaches one, despite the strenuous efforts of Bardem and the rest of the cast.
Events escalate once Victor, who took the phone sex job without expecting to meet Ms. Right, finds himself falling for a femme fatale named Amanda (Aitana Sanchez-Gijon), who is one of his elusive clients. She says that her husband has also had tele-sex with Victor, which naturally leads to ever more outlandish complications.
As it turns out, most of the characters are play-acting, which gives “Mouth to Mouth” (a catchier “Boca a Boca” in Spanish) its chance to weigh in on show business and artificiality.
One of the film’s funnier bits has Victor being told by his spitfire of an agent (Maria Barranco) that he looks too American to land a role in a big American movie. To overcompensate for this, he turns up with open shirt and slicked-back hair, smoldering histrionically as he kisses the hand of an American talent agent. (The film’s ear for vulgar Americanisms is notably weak, as when it gives this woman the line “Let’s go, chap!”)
Later on, Victor encounters a bratty American filmmaker whose combination of ignorance and arrogance makes an easy target. Victor launches into a furious diatribe in a restaurant after the boy wonder orders Coca-Cola, but he winds up impressing everyone with one more inadvertent show of his acting talent. Meanwhile, the film adds tranvestite waiters to this scene, sets some of its action in a phone sex disco and lets Ms. Sanchez-Gijon appear in blond, red and dark wigs at different moments. Despite these festive nods, the Almodovar touch has left the building and was never really here.