Volver a Empezar is a hidden gem. The synopsis is deceiving because it is one of those films whose value lies in the middle things. There is minimal dialogue. Instead, it relies on the looks shared between characters, the emotions elicited by beautiful images and cinematography, and, yes, the relentless "Pachelbel's Canon in D Major" and Gershwin's "Begin the Beguine". I understand the director's choice to use these in the soundtrack, but it was overdone. Especially the former, which played in every montage in which the gorgeous cinematography of Spain and Northern California were unfortunately diminished by the repetitiveness of the maudlin song. This is my one main complaint in regards to this film and I only wish the director could have held back from this, for he could have had a near perfect film on his hands. As it is, luckily other things made up for it.
Antonio's lost love, Elena, returns to him the record he first gave her 45 years ago, adding a new note to the original inscription. This is noteworthy because he had disappeared in her youth, but it seems they had both kept a special place in their hearts for each other, despite Antonio remarrying with children and Elena falling in love again with a married man. After sharing some priceless days together, as seen in some very well done tear inducing scenes, Antonio says goodbye to Elena in the airport. He has not told her of his terminal illness, although Elena seems to have maybe figured it out. He refuses a scene, although he does turn around to embrace her. She gives him the record as a gift, which he finally reads back in Berkely, along with printed pictures taken during their days together. My favorite is the one where Elena had written in chalk "The famous Nobel Laureate Antonio was born here" and Antonio made a scary face when Elena took the picture. Here is what was written on the record:
"To Helena, the only one I need. - Antonio Fred Astaire, Gijón 1936" "Thank You. These days have been worth an entire lifetime. - Ginger Rogers, 1981"
The remainder of his time spent in Spain includes some cute interactions with the always bowing hotel manager from Hotel Asturia where he is staying and where he receives a call from the King of Spain appreciating and congratulating him and there are reporters always trying to find Antonio, time spent with his colleague and closest friend, "Redhead", the only person he seems to confess his imminent death to (some great scenes that rely solely on facial expressions that must have taken some restraint on both the director and actor's part, as there was no overdone crying), and watching some fútbol games (he was a star player in his youth), and meandering various beautiful areas of his hometown of Gijón.
A few other things I will remember from the film.
Antonio says to Elena after a night spent like young lovers: "When one is young, one never thinks that older people fall in love. I did not either. I thought they liked each other, felt affection, but were not in love. That they would not feel passion. It is not true. Men and women can love until the very last moment of their lives. One only gets old when one does not love."
Antonio tells Elena this myth, which I personally had never heard before: Jupiter and Mercury came disguised as ordinary peasants and began asking the people of the town for a place to sleep that night. They had been rejected by all, "so wicked were the people of that land," when at last they came to Baucis and Philemon's simple rustic cottage. Though the couple was poor, their generosity far surpassed that of their rich neighbors, among whom the gods found "doors bolted and no word of kindness."They also asked that when the time came for one of them to die, that the other would die as well. Upon their death, the couple were changed into an intertwining pair of trees, one oak, and one linden,
This poem: "That though the radiance which was once so bright be now forever taken from my sight. Though nothing can bring back the hour of splendor in the grass, glory in the flower. We will grieve not, rather find strength in what remains behind." - William Wordsworth
Antonio left 45 years ago due to the Spanish Civil War. He was exiled and did not return until now. As such, the film is dedicated to those who exiled and lived in the thirties
Antonio's lost love, Elena, returns to him the record he first gave her 45 years ago, adding a new note to the original inscription. This is noteworthy because he had disappeared in her youth, but it seems they had both kept a special place in their hearts for each other, despite Antonio remarrying with children and Elena falling in love again with a married man. After sharing some priceless days together, as seen in some very well done tear inducing scenes, Antonio says goodbye to Elena in the airport. He has not told her of his terminal illness, although Elena seems to have maybe figured it out. He refuses a scene, although he does turn around to embrace her. She gives him the record as a gift, which he finally reads back in Berkely, along with printed pictures taken during their days together. My favorite is the one where Elena had written in chalk "The famous Nobel Laureate Antonio was born here" and Antonio made a scary face when Elena took the picture. Here is what was written on the record:
"To Helena, the only one I need. - Antonio Fred Astaire, Gijón 1936" "Thank You. These days have been worth an entire lifetime. - Ginger Rogers, 1981"
The remainder of his time spent in Spain includes some cute interactions with the always bowing hotel manager from Hotel Asturia where he is staying and where he receives a call from the King of Spain appreciating and congratulating him and there are reporters always trying to find Antonio, time spent with his colleague and closest friend, "Redhead", the only person he seems to confess his imminent death to (some great scenes that rely solely on facial expressions that must have taken some restraint on both the director and actor's part, as there was no overdone crying), and watching some fútbol games (he was a star player in his youth), and meandering various beautiful areas of his hometown of Gijón.
A few other things I will remember from the film.
Antonio says to Elena after a night spent like young lovers: "When one is young, one never thinks that older people fall in love. I did not either. I thought they liked each other, felt affection, but were not in love. That they would not feel passion. It is not true. Men and women can love until the very last moment of their lives. One only gets old when one does not love."
Antonio tells Elena this myth, which I personally had never heard before: Jupiter and Mercury came disguised as ordinary peasants and began asking the people of the town for a place to sleep that night. They had been rejected by all, "so wicked were the people of that land," when at last they came to Baucis and Philemon's simple rustic cottage. Though the couple was poor, their generosity far surpassed that of their rich neighbors, among whom the gods found "doors bolted and no word of kindness."They also asked that when the time came for one of them to die, that the other would die as well. Upon their death, the couple were changed into an intertwining pair of trees, one oak, and one linden,
This poem: "That though the radiance which was once so bright be now forever taken from my sight. Though nothing can bring back the hour of splendor in the grass, glory in the flower. We will grieve not, rather find strength in what remains behind." - William Wordsworth
Antonio left 45 years ago due to the Spanish Civil War. He was exiled and did not return until now. As such, the film is dedicated to those who exiled and lived in the thirties