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The pair met when Banderas was 19, and his second film credit was Almodóvar’s 1982 feature, Labyrinth of Passion, in which he played Sadec, a gay Islamic terrorist. We had to clean the slate and start from scratch.”īanderas left his first mark on international audiences thanks to Almodóvar, co-starring in the director’s punky, campy, very queer 1980s films. “I had to kill that guy who is more romantic and athletic, and not use the same tools I was for creating characters in Hollywood. The actor, who also stars in Steven Soderbergh’s new Panama Papers dramedy, The Laundromat, goes on to explain that he metaphorically “had to kill Antonio Banderas” to play the beaten-down, artistically stagnant Salvador. I want you to use that for the character.'”
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He said, ’After you had that heart attack there is something in you I don’t know how to describe, but I don’t want you to hide it. Something changed in me, and Pedro saw that. It opened my eyes to understand myself better, my role in life-to forget the stupidities and realize the things that are really important. It’s one of the best things that happened. “Two and a half years ago I had a heart attack, and that’s something that helped me a lot. “I’m going to be 60 next year-it’s not like I’m a boy anymore,” says Banderas, who snagged the Cannes Film Festival Best Actor award for the performance in May. Manolo Pavón/Sony Pictures Classics Antonio Banderas as Salvador in Pain and Glory.īut Banderas’ own life-specifically his recent heart attack-also proved valuable in his depiction of the broken, weakened Salvador.
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There were some Prada suits, for example, and if he liked the color, he said, ’Okay, let’s do a replica.'” I asked, ’Should we go with a beard, no beard, hair back?’ He never gave me a yes or no answer, and then on the day of the screen test he talked to the hairdresser and they started pulling my hair up like his! Then he brought in practically all of his wardrobe. When I read the script and thought, Salvador is Pedro, I figured the character’s look would go in another direction. The painting is the same, the balcony, the reflection of the light at specific times of day. “And when I say exactly, even the books that are there are in his apartment. “It’s exactly like his!” Banderas exclaims, sitting in a midtown hotel room in Manhattan. To play the 70-year-old Almodóvar’s thinly veiled-actually, fuck it, not veiled at all-alter ego, Banderas wore replicas of clothing yanked from the filmmaker’s own wardrobe, sported his signature spiky hairstyle, and even inhabited a precise reconstruction of Almodóvar’s sleek Madrid apartment (which you will want to move into). Will any of these events, past or present, hold the key to unleashing his visionary spirit and will to live? All the while, Salvador flashes back to his years as a child, his fraught relationship with his mother (played by Penélope Cruz and Julieta Serrano, as a young and elderly woman, respectively), and his first pang of same-sex attraction to an artistic handyman (César Vicente). When a revival screening of his pivotal 1980s film, Sabor, affords him the chance to reconnect with its star Alberto (Asier Exteandia), the pair, who’ve been estranged for years, bond over heroin, air long-held grievances, and eventually collaborate again when Salvador allows Alberto to stage a memoir text as a one-man monologue… which leads to the sudden reappearance of Federico (Leonardo Sbaraglia), Salvador’s ex-lover. He’s wracked with physical ailments, pain, panic attacks, and a creative block. In the film, Spain’s official Oscars entry for Best International Feature, director Salvador Mallo (Banderas) is no longer living his best life.
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Pedro Almodóvar helped turn Antonio Banderas into a star, so it seems fitting that Banderas has now come full circle to portray the gay Spanish auteur-or at least a version of him-for the semi-autobiographical Pain and Glory.