I’M SO EXCITED
I’m So Excited
The term ‘Feelgood Movie’ is a term which can damn a film as much as commend it but with I’m So Excited Pedro Almodovar, moving away from the more serious spectre which has haunted his latest output, has made a film manages to actually leave the cinema with a grin on your face and a spring in your step. It is essentially a frothy piece of camp outrage with all the entire prerequisite bright vivid colours, attractive cast and clever dialogue his films always manage to contain. Although there is a serious message lying at the core of the films subtext-relating to the parlous state of Spain’s economy- it is never dwelt upon or clarified and remains exactly what it is: an underlying message.
Opening with cameos from perhaps his two greatest stars-discounting Javier Bardem- Penelope Cruz and Antonio Banderas, who inadvertently cause the disaster the rest of the action centres on. From here the drama moves to the interior of the business class section of a plane which due to this fault is unable to land and therefore has to keep circling in the air above Toledo until an available and more importantly suitable airport becomes available.
What manages to transpire during the intervening time is a farcical series of events evolving around sexual tensions and confusions which are brought to the fore by three outrageously camp ‘trolley dolly’ air stewards- crossing the border into cliche on several occasions- who decide the best way to assuage the situation is Valencia cocktails spiked with mescaline in a bid to ‘relax’ the unaware passengers of the impending disaster.
Naturally the relaxing and sexually simulating effects of the drug release the tensions of nearly all concerned and the whole thing descends into an orgiastic shag-fest which has deeper emotionally resonant consequences for all involved. Unfortunately the economy class- apart from one attractive young stud who in a somnambulistic trance manages to shed a frustrated psychic of her virginity- having been fed a muscle relaxant by the cabin crew to make them less troublesome are out cold and manage to miss out on all the sexual shenanigans taking place behind the all-dividing curtain. This is an example of Almodovar’s comments about how the workers are drugged into some kind of opiated drudgery whilst those Spaniards in the higher echelons are living so much more of the high life.
The whole film moves along at its own frantic pace and Almodovar manages to make it all seem so easy- a more than adept cast who never allow to pace to flag play a large part in this- but ultimately it is so overtly camp and carries all the facets of that- big, bright, bold and quotations in quotation marks- that any subtleties are lost in the mayhem of riotous colour. And yes there is a dance routine to go with the Pointer Sisters song the movie borrows its title from, which will have every queen high kicking their way home.
It is still a good film however but it will go down as one of the more forgettable of Almodovar’s impressive and formidable canon. It may have been a way of the director getting back to his roots and letting off a little steam but I foresee his next venture will return to the more upmarket and intelligent forms we have come to associate him with in recent times.