Another Pedro Almodóvar film starring Antonio Banderas as a man obsessed with a young woman in his captivity, this may be his closest early work to 'The Skin I Love In', and with moody music from Ennio Morricone and lots of mobile camera-work, it is almost as atmospheric. 'Átame!' is, however, chiefly a comedy, known by the jovial English title of 'Tie Me Up! Tie Me Down!' no less (the original title translates as just 'Tie Me Up!'). More accurately, 'Átame!' is a romantic comedy, or an acute subversion of one as Bandares becomes set on making a lady who he had a one night stand with years ago passionately love him. Absurd a goal as this is, Bandares is so down-to-earth with his true romantic intentions (not wanting to copulate until she is ready) that it is hard not to root for him even when he goes to extremes like tying up lead actress Victoria Abril, hitting her on the head and threatening her with a knife. By the end of the film, one gets the sense that he really adores her. The film sends some very mixed messages though, particularly in terms of how Abril responds to his advances. It is also hard not to wish that the movie set scenes featured more prominently. Generally speaking, however, this is a worthwhile film, full of memorable touches - none more so than an incident with a bath toy that brings to mind the short film in Almodóvar's 'Talk to Her'.

An unbalanced but alluring former mental patient (Antonio Banderas) takes a porn star (Victoria Abril) prisoner in the hopes of convincing her to marry him.How can anyone deny the beautiful, almost dreamlike use of color in this film? Trying to find anything comparable is a challenge. The musicals of Jacques Demy? No, not even those."Tie Me Up! Tie Me Down!" comes from a strong pedigree, as it follows in the myth of Beauty and the Beast and the notion that the savagery of the Beast is, in the presence of Beauty, tamed by gentler feelings. This has been a recurrent theme in films like "King Kong", "Frankenstein" and "Tarzan the Ape Man". Some have even drawn parallels to "Seven Brides For Seven Brothers" in that kidnapping can lead to romance.The soundtrack was composed by Ennio Morricone in the style of a thriller and is reminiscent of Bernard Herrmann's score for Alfred Hitchcock's "Psycho". This music changes the whole tone. Some consider the film a "dark romantic comedy" and others even say there is a hint of horror in there. Much of the mood relies on the music -- with a lighter tone, this could just be an "offbeat" romantic comedy and not a "dark" one -- there is very little about the film that is dark besides the music.

I have a VHS copy of this that I have never opened. I don't know why, but it is one of the very few Almodovar films that I have not seen.Antonio Banderas already had a couple of Almodovar films to his credit, and he was just 30 in this film.The object of his desire is Victoria Abril, another Almodovar protégé, who appeared with Banderas in The Law of Desire.The bathtub scene with the scuba diver is to die for.Banderas kidnaps Abril and tries to get her to love him. Holy Stockholm Syndrome! Believe it or not, there is only one love scene in the movie, but it was spectacular.

A love story with strings attached; Tie Me Up! Tie Me Down! (1990) is without question Almodóvar's most unconventional romance to date, expressing a number of themes that seem to continually contradict one another, while still managing to offer the usual ideas of meta-fiction and narrative self-reflexivity that Almodóvar's work is noted for. The film is also worth seeing for the subtle way in which the director develops and extends upon recognisable elements from his previous films, Matador (1987) and The Law of Desire (1987) - both of which focus on the ideas of obsession and domination within the context of an unconventional relationship - but extends upon these issues with a kind of manic, melodramatic kitsch that can be seen in the directly preceding Women on the Verge of a Nervous Breakdown (1988) and the subsequent Kika (1993). Like Kika, the film would become one of Almodóvar's most derisive and controversial projects - particularly in the US - and although the presentation is often tamer than one might expect, the film nonetheless attempts to provoke the audience through a continual contrast of violence and tender sensuality, and the various other issues that the characters convey.When your story revolves around a recently released mental patient kidnapping a recovering junkie porn actress in an attempt to make her fall in love with him through a combination of physical force and psychological manipulation, we know that certain elements are going to push the audience further than we might normally expect. However, in light of this, it is surprising how natural Almodóvar manages to make this bizarre relationship, creating a tone, both visually and thematically, that works in establishing this skewed, off-kilter world and the multifaceted complexities of his characters. If you keep in mind that the film is intended as farce - with the bold stylisations, larger-than-life characters and Almodóvar's great sense of musicality when it comes to the pitch, tone and energy of his performances - then you should be able to appreciate the film for what it is and what it is trying to achieve. On the one hand it is an incredibly entertaining film, with the great sparring between the two central protagonists and a veritable ensemble of larger than life supporting characters, including the legendary Francisco Rabal as a lascivious, wheelchair-bound film director focusing his creative energies into a final masterpiece, a sleazy epic about dangerous desires, lust and obsession (sound familiar?), but it is also an extremely thought-provoking and compelling piece of work that is open to deeper interpretations.The dynamics within the relationship are nicely structured, with the character of Ricky initially standing out as a two-dimensional crazy person who is compelled to form a relationship with Marina after the couple shared a passionate one night stand almost a year before. The fact that Marina is able to cope with the situation, eventually taking the position of power, ultimately says a great deal about both of these characters, their lives and their back stories, and how the ending of the film could hold some kind of dramatic weight, even in light of its central abstractions. It helps that the performances from Banderas and Abril are as spirited and committed as they are; with both characters capturing that sense of confidence and strength punctuated by loneliness and a subtle fragility. Seeing work like Women on the Verge..., Kika and the film in question, you wonder why Almodóvar never made a full blown musical (what with those great big, theatrical sets, overwhelming Technicolor and sweeping crane shots). You can see these influences in much of his work, but instead of allowing the elements to explode into a wild collage of opulent self-indulgence (like the first half of Kika), the director manages to instead anchor the film to the personalities of his characters, their dynamics and relationship, and the complex interplay that will eventually develop between them.Long time viewers of Almodóvar's work will immediately recognise the self-referential nature of the story, with the "film-within-a-film" aspect apparent right from the very start, with that continual Almodóvar-like framing devise, wherein the story within the film becomes a comment on the story itself. Alongside this central design we also have the character as a performer, an actress in this case, and a secondary character who is both an artist and delusional. As a result, we never quite know who to trust as the film progresses from one wild extreme to the next; with Almodóvar's always interesting directorial quirks and eccentricities creating an odd tone that can be seen as part crime thriller, part kinky sex comedy. Again, this style is well suited to the director's work and can be seen in everything from Matador, The Law of Desire and the acclaimed Live Flesh (1997). Though it has clearly proved to be problematic for many viewers (judging from the plethora of negative reviews listed online), I'd have to argue in its defence. For me, Tie Me Up! Tie Me Down! is a great deal of fun; provocative certainly, with the continual contrast between violence and sensuality, humour and terror, but also filled with the usual wit, flair, depth and imagination that we've come to expect from the director and his work.