Educational Media Reviews Online

Despite his being the title character, his sleeping and showering with his master, Julian, and the endearing shot of the two of them on the film posters and DVD cover, the focus of this movie is not a dog. As Julian says at one point, “the only things in life that matter are relationships.” It has long been noted in literature that nothing focuses the mind like the prospect of imminent death, and fighting a losing battle with lung cancer has distilled his philosophy to this point.

He makes this statement to Tomas, a lifelong friend who has not seen him for some time, and has returned to Madrid from his adopted Canada for what they both assume to be their last visit. While it’s obvious that the two are as comfortable together as a pair of old shoes (Julian’s ex-wife calls them “the inseparables”), and Julian is certainly at ease assuming Tomas’ willingness to take on increasingly larger expenses on his behalf, it also becomes apparent that they have grown to take each other for granted in other ways, as often happens in such situations. So a great part of the pleasure in this film is in seeing how they rediscover how much they know and care for each other.

Tomas’ visit is only to last four days, and a lot of their time is spent making preparations for Julian’s death, most importantly finding someone he can trust to care for Truman once he’s gone. Initially somewhat ill at ease with the dog, Tomas takes more and more of an interest, becoming increasingly critical of the prospective new owners, while Julian curiously doesn’t seem as bothered about this as he is about the other adjustments he’s having to make.

“Everything is going to hell,” he observes when the owner of his theater fires him after learning of his diagnosis, afraid Julian won’t live out the show’s run. A Moliere lead and former romantic hero who now wets his pants, whatever fame he’s enjoyed doesn’t change the fact that his ashes will soon fit into a surprisingly small container. He is offended when a former acting colleague, “smelling death,” tries to ignore him in a chance encounter. Yet all is not doom and gloom. Another surprise in a restaurant involves a former close friend Julian has not seen since he cuckolded the man, causing his divorce. He surprises him by not even mentioning the incident, instead graciously offering his heartfelt condolences about Julian’s suffering, later introducing him to his very pretty, and pregnant, girlfriend.

With a terminal cancer patient in the lead role, the film isn’t maudlin in the least. There are no oxygen tanks, or other expected paraphernalia. Nor, for that matter, is there much coughing. Julian even smokes in a couple of scenes. As he says to Tomas, “everyone faces death as best he can.” The characters in this story alternately face facts and skirt them, but generally with dignity, compassion, and occasional levity. Even so, despite Tomas’ insistence, he cannot bring himself to tell his beloved son Nico that he’s decided to refuse further treatment, instead waxing nostalgic about the dope smoking, lovemaking, music filled afternoons of youth, condemning those who would make anyone feel bad. Still, the hidden tears of the father and son’s parting marks the most poignant scene in the film.

Overall, this is one of the most intelligent, understated masterpieces I’ve ever seen. Filled with heart and humor and humility, I can’t think of why anyone wouldn’t like it.

Truman understandably won a lot of awards, sweeping both the Goyas and Gaudis for best film, director, best leading actor (Ricardo Darin), supporting actor (Javier Camara), and supporting actress (Dolores Fonzi).