ORIGINAL SIN

US, 2000, 116 minutes, Colour.
Antonio Banderas, Angelina Jolie, Thomas Jane, Jack Thompson.
Directed by Michael Cristofer.

During World War II, Gainsborough Studios in London made a series of full-on melodramas, 'bodice-rippers' which combined mad romantic love, violent and sexual passion, sinister Gothic intrigues, and dialogue which sounded particularly arch artificial. Audiences loved the sensational plots. Here is an attempt to revive these melodramas, 21st century style.

The action is set in Cuba, 1880, which means exotic tropical locations, Hispanic architecture and decor, lavish and colourful costumes. There is no stinting in the arts departments. And the stars: Antonio Banderas smouldering as a rich plantation owner who marries a mail-order bride from America, played to the hilt by Angelina Jolie. Needless to say - because this is what we have learned to expect - she is a femme fatale, a temptress, who wreaks havoc with love and fortune. While these sins are not particularly original, they are meant to be some kind of allegory of Adam tempting Eve in the garden of Eden and their being cast out. Surprisingly, this film is an adaptation of a Cornell Woolrich novel. Woolrich was a pioneer of the 'noir' novel, many of which were filmed like Hitchcock's Rear Window and Truffaut's The Bride Wore Black. The adaptor/director is Michael Cristofer, Pulitzer Prize winner for his play The Shadow Box, filmed by Paul Newman in 1980.

The trouble with this kind of melodrama is that audiences tend to expect plot, characters and dialogue which seem to be realistic even if they are not. Audiences tend to laugh at the posturing and, unless they surrender to the conventions, dismiss is it as silly. This is lush melodrama, lavishly made for devotees.

1. An old-fashioned melodrama? The novel and movie styles of the Gainsborough Studios in the '40s, Mills and Boon and Barbara Cartland with Gothic touches? Transferred to the screen?

2. The film based on a novel by Cornel Woolridge, one of the masters of film noir? The transferring of the location from New Orleans to Cuba? Cuba in the 1880s?

3. The location photography, Mexico for Cuba, the cities, the homes, the streets, the trains? Costumes and décor? Lighting? The musical score and its atmosphere?

4. The title and the focus on original sin? Sin, men and women, temptation and fall?

5. Julia and her narrative: glimpsing her in prison, the various glimpses throughout the film, the impact of her telling her story, the effect on the Franciscan friar, his listening, compassion? Her seductive manner of telling the story while looking at the execution instruments, her speculation about her death? Persuading the friar to take her place and her escape?

6. The character of Luis: Cuban factory owner, his wealth, the coffee plantation? The decision to have a wife, status, advertising in Baltimore, the arrangement, her arrival and his being bewitched by Julia?


7. Luis, his experience of Julia? Life being in order? His love, passion? Going to the theatre, Julia wandering? The encounter and his puzzle?

8. Her disappearance, emptying the money from the bank, Luis’s discovery, his wanting to kill her?

9. The character of Billy, posing as the detective, meeting with Luis, their discussions, the explanations about Julia, the investigation? His real motives? Julia double crossing him?

10. Luis and his finding Julia, seeing her in action, his passion and anger, succumbing to her, her explanations?

11. Julia, her nature as a con-woman, her behaviour with Luis, with the clients, using up all the money? The man at the door and locking him out? Luis confronting him, naked? Julia exercising her skills and her wiles? The truth?

12. Billy, his arrival, Luis overhearing the plot, his anger, the gun, shooting Billy? His anguish at having killed someone? The advice of Alan Jordan?

13. Julia, training Luis in poker, the need for money, with the aristocrats, her way of cheating – and Luis being exposed?

14. The final confrontation, Luis and his shock at finding Billy alive, the second shooting – this time not with blanks? Billy’s death?

15. The finale, Julia and her being in prison, the escape?

16. The final scenes in Morocco, the pair in Morocco, Luis and his gambling, Julia and her cheating? An ironic ending?