Within the first five minutes of Pedro Almodóvar’s Talk to Her it has combined sensuality, spirituality and sheer joy in a harmonious plot that continues throughout the film. Almodovar uses the characters' unlikely predicaments to show how we define ourselves by narration. After learning of Benigno’s passion and dedication for Alicia’s welfare, how they met and the effects of their relationship, Benigno becomes more of a dynamic character who presents the central theme of the universal need for communication. “Mr. Almodóvar uses a dark, sweet richness and camera movements as deliberate and generous as Benigno,” (NY Times, 2002) serving to lull the audience into thinking he is innocent; then we “learn very slowly what depths of benign malice this apparently bland, kind man.” This contrast in characterization both develops the plot and absurdly turns a seemingly simple situation into one of high complexity.
An interesting use of time permeates throughout the film. Flashbacks and individual character’s memories provide clues to their desires and motivations. For example, Marco’s flashback to Lydia crying during the wedding and their conversation in the car serve to motivate him to take care of her in the hospital, despite his doubts as to whether she will in fact reawaken. Marco and Benigno are foil characters. While Benigno believes that the women in comas can hear what he says and are conscious, Marco dismisses it as false information and refuses to talk to Lydia. This contrast develops into an indefinable friendship between the two men for the rest of the film. Furthermore, it reinforces that communication is absolutely necessary for a relationship to prosper, whether through action or the act of speaking.
A traditional use of cause and effect prompts the plot to move. Benigno observes Alicia dancing, becomes infatuated with her, picks up her wallet, and walks her home, producing an effect of extreme devotion and a desperate need for her attention. This motivates the rest of Benigno’s action in the film – he becomes Alicia’s nurse, attends plays at the Cinematheque and even goes to see silent movies, and allegedly rapes and impregnates her. The element of ambiguity as to whether Benigno is actually guilty provokes the audience to make their own assumptions, effectively engaging our attention as we struggle to resolve the film before its plot is finished.
Used to convey inexplicable feelings and memories, crying is both a powerful symbol and action in Talk to Her. Marco cries when he is moved or haunted by memories of previous relationships, unable to withhold his emotions.
Irony is also used to provoke the plot into unexpected circumstances. First, the lives of the two leading men hinge on the welfare of two comatose women. Benigno’s character also turns into one of dense and psychotic nature, never explicitly expressing how he feels, while Marco remains devoted to him. Additionally, the silent film Amante Menguante (Shrinking Lover) is used as a distraction for the defining moment in the plot, ironically conveying the despondency of the film.
Told through a melodramatic form with ample emotional texture, this film is a curious story of devotion and obsession, friendship and human connection. All of the relationships display the notion that an equal amount of give and take are necessary for it to be successful. This is an intensely human drama that cuts straight to the heart of the matter and lingers long after concluding.

It is difficult to portray a whole country’s identity in one film. Whereas citizens might view themselves one way, the world might view their culture in another, creating a complex relationship between self and others. Three radically different films, Daughter from Danang, The Scent of the Green Papaya, and Born on the Fourth of July, present the Vietnamese identity from different viewpoints and situations, signifying the intricacy of the country's history and its struggle to unify under a common legacy.
A frank yet emotional portrayal of the cultural clash evident between the Vietnamese and Americans, Daughter from Danang is a documentary that explores the hardship of returning to one’s culture after many years of separation. As a result of the Vietnam War, Heidi was taken from her family and assimilated into American society, with little respect for her heritage or previous identity. She is characterized by her limitations in understanding other cultures, while sulking when her situation is not ideal. Ironically, she expresses her desire to be with her daughters, even though she feels smothered when her own mother wants to be with her every second she is in Vietnam. This film highlights the fact that Vietnamese culture is very different from the American way of life, evident through the forward nature of Heidi’s brother asking for money, the constant physical contact her mother gives, and the low class society of the village. Cheaply made and somewhat biased towards what the directors want to portray to the audience, this film is a true attempt to show that the Vietnam War has affected many people, both first and second hand.
The Scent of the Green Papaya is purely Vietnamese, celebrating its heritage and culture. Expertly filmed to manipulate both visual and temporal senses, it objectively showcases the struggle of a wealthy Vietnamese family, along with the life of Mui, a devoted servant girl. The family’s effort to survive when their father leaves is similar Heidi’s mother’s desperate attempts to support her family when her husband abandoned them. While the war is not central to the plot, it is indirectly involved through the siren and the family’s constant worry about finances. Mui's characterization is developed through her facial expressions, unconditional devotion to those she serves, and tranquil music that plays when is central to the scene. In direct contrast is the Khuyen's fiance, who is ignorant and unappreciative of her blessed lifestyle. This suggests a dramatic foil to Mui, highlighting her inner beauty and indulgence in others. Beautiful scenery and sound combined with little dialogue show the simplicity of everyday life and display the whimsical, fairytale like aspects of Vietnamese culture.
An action filled and emotionally taxing blockbuster, Born on the Fourth of July tells the complex autobiographical account of a war optimist turned quadriplegic, Ron Kovic, played by Tom Cruise. It embarks on the remarkable journey of an impassioned man committed to his country, yet unwilling to yield in his own worth as a veteran. It presents a thought-provoking portrayal of the American view of the war, while displaying the “long and painful spiritual rehabilitation that coincided with political radicalization” (New York Times, 1989). The screenplay is panoramic, covering from Ron’s childhood, to his tour of duty, to his hospital stay, to his return home and activism of Vietnam Veterans Against the War. Kovic's characterization is ironic in his change from a youthful war optimist turned bitter veteran against the cause for which he originally was so passionate. Though an objective narrative, this film is a memoir that delves into the psychological effects of war on a veteran committed to his values. It is bitter, seething, and full of regret as Americans reevaluate their commitment to other countries about their own.
A country full of violent history, invasion, and occupation, Vietnam struggles to identify itself as a unified culture. In response to this, the Vietnamese, Americans, and French have made many films to portray their country’s view of the War and its aftereffects. A documentary, beautiful narrative, and action blockbuster each contribute different filmic perspectives, generating a diverse collection of films dedicated to the complexity of the Vietnamese identity.

From the beginning scenes of the 1993 film The Scent of the Green Papaya, sound becomes the dominant element, thoroughly dictating the action of each scene and the advancement of the plot. Its essential involvement produces a beautiful, compassionate narrative, describing the tragic struggles of one Vietnamese family, while reveling in the simplicity of everyday life. With little dialogue, the film’s music and sound effects become critical contributors to the development of the film. Relying more on tone and feel, The Scent of Green Papaya manages to engross an audience because of its scrupulous attention to detail and its ability to effectively capture the essence of life's subtle, individual moments.
As the story develops, both external diegetic and nondiegetic sounds of varying pitch and timbre are used to describe the emotions, action, and mood of the film. The sound of crickets is a continuous background to the night, while chirping birds signify the beginning of another day full of weary and grief. This continuous soundtrack of natural sounds played throughout the movie show the integration of nature into Vietnamese culture and how important of a role it plays in their everyday lives. A traditional Vietnamese stringed instrument, apparently nondiegetic, is used to transition from one scene to another. When its source is shown, it becomes diegetic, woven into the action, in addition to suggesting that the family is established and respectful of their heritage.
In contrast, several sounds are used to describe and develop specific actions crucial to the plot. The high-pitched, repetitive gong created by the Grandmother while she is praying denotes silent pain created by her life’s tragedies. The deeper, repetitive drum sounds when the youngest boy antagonizes Mui – his satisfaction is aptly finished with a rude farting sound as he runs away. Further along in the film, a piano is used to expand Mui and Khuyen’s relationship. It is a very soothing advancement of Mui’s service to her secret lover; Mui does not speak much, but the audience feels her emotion, awe and appreciation of working for the man she loves through music and sounds during the scenes. Khuyen also uses the piano to show his emotion: he plays a loud, angry piece when his fiancé annoys him, while playing softly when surrounded by Mui. This rhythmic change signifies an eventual change in Khuyen’s choice for a wife. The piano is also played when the couple is finally peacefully together, indicating the continuous, tranquil, and organic essence of their love for each other.
What makes the Scent of Green Papaya a work of narrative art is the way that the cinematography showcases the lush and lovely sets, and most especially, the magically playful musical score, which adds an air of whimsy to otherwise mundane moments. Together, they capture the essence of everyday life in post-colonial Vietnam, shaping the experience of the film. Musical scores and natural sounds contribute to the expansion and characterization of the plot, while symbolizing a beautiful and sensual way of life.