"Then we have something in common," she says. "Neither one of us can be trusted." Actually, he can.
"Original Sin" is based on the novel Waltz into Darkness , by the famous noir writer Cornell Woolrich. Another of his books inspired Hitchcock's "Rear Window"--and indeed this one was earlier filmed as "Mississippi Mermaid" by Francois Truffaut, in 1969 (Jean-Paul Belmondo and Catherine Deneuve played the roles). Like many good thrillers, it really gets rolling only after we think we've already seen through the plot. There are surprises on top of surprises, and I 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 scenes of lurid melodrama, dramatic ultimatums and stunning revelations. Another purpose is to show off these two splendid human beings, and I am happy to report that there is even a certain amount of nudity--which you would expect with this passionate story, but then again you never 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 own terms. Her presence is like a dare-ya for a man. There's dialogue in this movie so overwrought, it's almost literally unspeakable, and she survives it by biting it off contemptuously and spitting it out. She makes 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 man in the eye and tells him what she wants, and how soon she expects to get it. Banderas skillfully plays up to this quality, spaniel-eyed, lovestruck, so overwhelmed he will follow her literally anywhere.
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