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Photogs to the Stars
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An Inconvenient Truth
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Little Children
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Fish Circus V2
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A Chorus Line
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Rent 10
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Spring Awakening
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Threepenny Opera
Times They Are A-Changin
Trailer Park
Wall to Wall Broadway
Photo Credit :: MRNY
Arts & Entertainment
By Mark Thompson & Robert Doyle
January 29, 2007 
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With little more than a knock, “Buenos Dias,” and a succession of quick kisses, Pedro Almodovar enters your home like a Spanish telenovela.  Whereupon, with his posse of fierce and impassioned women, he settles in and takes over—for the duration of his story. This one concerns Raimunda—and the husband who’s murdered by the daughter of another father, and the restaurant they take over to make ends meet.  Sort of like Mildred Pierce set in Madrid, sixty years after Mildred was forced to give up piemaking.  And there are moments when you might be forgiven for considering that Raimunda might be making her own kind of meat pies, à la Sweeney Todd, given that Almodovar’s plot points include everything from ghosts and incest, homicide and adultery, so why not cannibalism as well?  Make no mistake: the man loves his women and their stories, and these women tell them in their own time—as  if we, in the audience, were sitting at their table, sharing their omelet.  This is film as oral folklore, with its own sense of time: relaxed and unhurried.  And with Penelope Cruz and Carmen Maura as the film’s heart and soul (and channelling the likes of Anna Magnani and Sophia Loren), all the more reason to relax and listen—and succumb to these big-hearted spirits.