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As somebody who had not heard any of this before, it became a curious phenomenon to sit and watch a film and slowly have the realities begin to click into place.

The film may be flawed, but its message is not.

Exactly the movie you think it is, but not the movie you want it to be.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Released internationally as 'High Heels', the actual title of this Pedro Almodóvar comedy translates as 'Distant Heels', an idea of significance towards the end of the film as events take a sharp dramatic turn. Whatever the case, summing up what exactly this film is about is not easy as it is an unpredictable ride throughout (in the best sort of way) with lots of surprise revelations and plot twists and turns; the characters also often do what we least expect of them. In short, the film might be best thought of as Almodóvar's take on 'Autumn Sonata' - which even gets explicitly mentioned - as the plot focuses on a successful television news anchor and her resentment of her diva mother who traumatised her as a child. As the plot unfolds, we learn that she married one of her mother's former beaus. Did she do it for revenge or to humiliate her mother or was it simply a coincidence? As the plot thickens and something happens to her husband, even further questions arise with regards to her intentions, and it is perhaps best not to say more to avoid ruining a fresh experience of the film. While the narrative sometimes feels all over the place and not everything that occurs is especially credible (especially the jail that seems more like a summer camp!), the film has an undeniable charm to it. Miguel Bosé also has one surefire interesting character that raises questions about personal identity and role-playing, which is part of what the film is about: the two female protagonists coming to accept their roles of mother and daughter, career aspirations and other concerns aside.

Like a multilayered cake, filled with delicious flavors and rainbow colors that satisfy the palate and the eyes, this film is so round and perfect that it's impossible to think it could have been better.I saw it when it came out and tonight I saw it again for the second time, the impression was as fresh and fulfilling as the first time around. The acting of both Marisa Paredes and Victoria Abril are true tour de force performances, something to be seen to believe it, although everybody in this film is picture perfect. The cinematography, the editing, the acting, the sets, the music and the wardrobe, all top drawer.There are not as many humorous scenes here as in other Almodovar films, but they are as accomplished as any he has done before, and it must be very unfortunate for non Spanish speaking audiences because most of the humor is spoken, something totally untranslatable in subtitles, and that is something palpably noticed when reading some of the other reviews, that missed completely the totally Spanish flavor and humor.Marisa Paredes must have been something out of this world as a young woman because even here, in some close ups the perfection of her features are breathtaking and as an actress I'm convinced she must be one of the great ones, just incredible.Bibi Andersen (the tallest woman in the jail scenes) was at the time the best known female impersonator in Spain and he/she looks really stunning with a figure that any woman would gladly kill to have.I adore Almodovar film making, so to me this is his best film ever, but then I think the same about all the rest of his cinematography.

Pedro Almodovar seems to be aiming for the excesses of female drama even in his future explorations of male passion, seen in films like CARNE TREMULA (LIVE FLESH) and LA MALA EDUCACION (BAD EDUCATION). A hybrid caught between his lurid comedies of the Eighties and the darker, more textured dramas that would present him in a more mature light after the success of LA FLOR DE MI SECRETO (THE FLOWER OF MY SECRET), TACONES LEJANOS (HIGH HEELS) finds Almodovar continuing to explore the female psyche in a story that's an equivalent of a spicy gazpacho made with combinations of the histrionics of Joan Crawford in MILDRED PIERCE and the melodramatic garishness of a Douglas Sirk melodrama with a subtle reference to Ingmar Bergman's HOSTONATEN. Throw in the usual suspects -- a mother (with a name that recalls high-drag), Becky del Paramo (Marisa Paredes), her estranged daughter Rebeca (Victoria Abril), Rebeca's husband Manuel (Feodor Atkine) who is one of Becky's former lovers -- a little murder and a female impersonator (Miguel Bose), and you have a sizzling story that is vintage Almodovar.

I Saw this film in my Spanish Cinema Class...In school....My Teacher Mr.Moore says that this is one of his favorite Pedro Almodovar movies...I think it was pretty good...Some of the parts were a little out there but then again there is always a part in his movies thats just totally out there in some way. I have to say that Pedro Almodovar is probably my favorite Spanish Director out there.