ORIGINAL SIN
(STAR) (STAR) (STAR)
Luis Durand Antonio Banderas
Julia Russell Angelina Jolie
Walter Downs Thomas Jane
Sarah Joan Pringle
Augusta Allison Mackie
Metro-Goldwyn-Mayer presents a film written and directed byMichael Cristofer, based on the novel Waltz into Darkness, by CornellWoolrich. Running time: 112 minutes. Rated R (for strong sexualcontent and some violence). Opening today at local theaters. Thefirst shot on the screen is a closeup of Angelina Jolie's lips. Andwhat lips they are, plump and pouting and almost bruised. Eventuallywe tear ourselves away from the sight, and realize she's talking.She's telling the story of why she happens to be in a jail cell;these flashbacks will eventually reveal that she has been condemnedto death by garroting-a nasty way to go, as the executioner turns ascrew to tighten an iron collar around your neck.
This prologue undermines any romantic illusions as the storyitself begins, circa 1900, introducing us to a wealthy Cuban coffeeplanter named Luis Durand (Antonio Banderas), who anticipates thearrival of a mail order bride named Julia Russell (Jolie). Handsomeand rich, he has never married ("Love is not for me. Love is forthose people who believe in it"). His expectations for the bride arerealistic: "She is not meant to be beautiful. She is meant to bekind, true and young enough to bear children."
"You don't recognize me, do you?" Julia murmurs in a thrilling lowregister, as he finds her standing before him at the dock. He doesnot. This sultry vision is not the plain woman in the photograph heholds. She confesses she sent the wrong photo because she did notwant a man who was attracted only to her beauty. He confesses, too:He owns his plantation and is not simply a worker there. He didn'twant to attract a gold-digger.
"Then we have something in common," she says. "Neither one of uscan be trusted." Actually, he can.
"Original Sin" is based on the novel Waltz into Darkness, by thefamous noir writer Cornell Woolrich. Another of his books inspiredHitchcock's "Rear Window"-and indeed this one was earlier filmed as"Mississippi Mermaid" by Francois Truffaut, in 1969 (Jean-PaulBelmondo and Catherine Deneuve played the roles). Like many goodthrillers, it really gets rolling only after we think we've alreadyseen through the plot. There are surprises on top of surprises, andI will tread carefully to preserve them.
The purpose of the movie is not really to tell its story, anyway,but to use it as an engine to pull Banderas and Jolie through scenesof lurid melodrama, dramatic ultimatums and stunning revelations.Another purpose is to show off these two splendid human beings, and Iam happy to report that there is even a certain amount of nudity-which you would expect with this passionate story, but then again younever know, now that studios are scurrying into the shelter of the PG-13 to hide from pruny congressmen.
Jolie continues to stalk through pictures entirely on her ownterms. Her presence is like a dare-ya for a man. There's dialogue inthis movie so overwrought, it's almost literally unspeakable, and shesurvives it by biting it off contemptuously and spitting it out. Shemakes no effort to pretend to be a nice woman-not even at the first,when Luis believes her story. She's the kind of woman who looks a manin the eye and tells him what she wants, and how soon she expects toget it. Banderas skillfully plays up to this quality, spaniel-eyed,lovestruck, so overwhelmed he will follow her literally anywhere.
The movie is not intended to be subtle. It is sweaty, candle-litmelodrama, joyously trashy, and its photography wallows in sumptuousdecadence. The ending is hilariously contrived and sensationallyunlikely, as the movie audaciously shows an unrevocable action andthen revokes it. I don't know whether to recommend "Original Sin" ornot. It's an exuberant example of what it is-a bodice-ripping murder"meller"-and at that it gets a passing grade. Maybe if it had triedto be more it would have simply been watering the soup.
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