Banderas alone boasts enough gravitas to put across his role as a pragmatic businessman torn between lust and revenge.Ĭristofer fully exploits the sadomasochistic tango of l’amour fou, and the pic is gorgeous (if annoyingly edited).
In an atmosphere of deceit and roiling lust begins a cavalcade of real and faked murder, courtesanship, brinkmanship and subterfuge, gambling, cheating and shameless mugging.Īs a rule, Jolie simply has to show up to be sexy, which is what makes this careening display of overripe poutiness seem like a step backward. Penniless and distraught, he hires Downs to track the wench down. When, at the half-hour mark, she cleans him out and splits, Luis decides that, although he can’t live without her, he wants to be the one to kill her.
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It looks like Luis was probably unwise to give his bride full access to both his personal and business bank accounts. Private detective Walter Downs (Thomas Jane) shows up to investigate, at the behest of Julia’s sister Emily. But shadows begin to darken their idyll as discrepancies arise between what Julia wrote during their long-distance courtship and the way she now behaves.
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So, Banderas bares his buns and Jolie bares her breasts as they make love in a series of tableaux. “We have something in common,” Julia purrs. Luis, in turn, admits that, although he’d described himself as a humble clerk in a coffee export firm, he actually owns the company. Julia apologizes for her ruse, claiming she sent another woman’s likeness as she didn’t want to be desired simply because she has a pretty face. But the Julia (Jolie) who seeks him out on the pier is infinitely more attractive than the plain, God-fearing woman whose photo he’s clutching. Luis plans to meet the boat at 6 a.m., be married at 9, celebrate and go back to work the next morning. And he’s picked an American wife because Cuba, he says, represents “the past.” He isn’t after beauty or torrid romance, just someone kind and loyal of child-bearing age. Wealthy Cuban coffee merchant Luis (Banderas) has chosen his mail order bride Julia Russell, from Delaware (although narration mentions an ad placed in a Baltimore paper), to join him in turn-of-the-century Cuba. For the first 15 minutes - and on and off thereafter - characters seem to speak almost exclusively in Aphorism Lite, particularly the mantra: “You can’t walk away from love.” In Cristofer’s version, bulk of pic is a flashback narrated by a pious-seeming Jolie, as she tells a credulous priest the elaborate story of how she came to be in prison awaiting her execution at dawn. in its original European version, which was 13 minutes longer). Truffaut’s pic was a commercial flop at the time (and was re-released two years ago in the U.S. Helmer Michael Cristofer, who directed Jolie in her star-making turn in the HBO-produced “Gia,” scripted his own adaptation of Cornell Woolrich’s novel “Waltz Into Darkness,” which Francois Truffaut used in 1969 as the basis for “Mississippi Mermaid.” Latter starred Jean-Paul Belmondo as a tobacco planter whose mail-order bride, played by Catherine Deneuve, turns out to be an impostor.
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