Perdita Durango

Being a huge Barry Gifford fan, having enjoyed De La Iglesia's Day of the Beast, and of the opinion that Wild at Heart was one of the best novel to film adaptations in the history of cinema, needless to say, my expectations for this movie were very high. I couldnt have imagined it being so satisfying.

De La Iglesia's adaptation of Perdita Durango takes its liberties but (like Wild At Heart) finds its inspiration in the original source material without destroying the spirit.

Romeo and Perdita carve their way through the world with violence, magic, and sex. They are sadistic, perverse, and perfect for each other. From their first fateful meeting, to their kidnapping of two suburban white kids, to driving a truck full of fetus destined to be black market makeup, it is a dark destiny, a collision of two black souls. If the movie has any message, it is that even the most wicked person has a diabolic soulmate. Love does not discriminate.

The performances are great. Javier Bardem as Romeo was totally unrecognizable as the same guy who played the stud in Jamon, Jamon. He plays Romeo as charming, self preserving, and almost noble killer because of his beliefs in darkness, sacrifice, revenge, and amoral spirituality. My fears of Rosie Perez, an actress I am not fond of in any way, were unfounded as she embodied Perdita perfectly with sadism and sizzle. James Gandolfini, as the Wile E Coyote like DEA agent Dumas, was also very good, perpetually abused and doggedly determined.

De La Iglesia handles with the film with great skill. The pacing is fast and furious. Every scene is alive with energy, and his composition is masterful. He has vastly improved from the flawed, yet entertaining, Day of the Beast, and demonstrates that his is a talent that continues to grow. Given the proper material and time, I can see him providing a enjoyable body of manic, surreal, and outrageous work.

I stumbled into this film while channel surfing the other night and couldn't turn it off. There's something compelling about the performances of Javier Bardem and Rosie Perez that transform this film from what could have been a mediocre exploitation film to something well worth watching. There's a lot of original thinking here and luckily the director and editor got the mix just right to pull of a real gem. There is a mix of comedy, romance, evil, pathos and irony blended in a way to keep you off balance and always wondering what's around the next corner (what's with the fetuses?). 7 out of 10.

I picked up DANCE WITH THE DEVIL at the local video store, basically because Rosie Perez was on the cover holding a double-barrel shotgun. Need I say more? Okay I will. Originally titled "Perdita Durango" after Rosie's character, this is one twisted, shocking, and absolutely fantastic film. Although a little on the low budget-side, it definitely makes up for it with a killer script and terrific performances from the entire cast. It was based on the novel by Barry Gifford who also co-wrote the screenplay. You might remember him from writing David Lynch's films WILD AT HEART and LOST HIGHWAY. Although Perdita is the main character of the film, there is little known about who she really is and what she is all about. Javier Bardem basically steals the show through his intense performance as Romeo, the devil with the rattlesnake boots. Of course we cannot forget James "Tony Soprano" Gandolfini who delivers a great role as a narcotics detective. Like some kind of twisted cross between NATURAL BORN KILLERS and DESPERADO, this film never lets up from start to finish. It's definitely a contemporary cult classic chock full of violence, sex, drugs, dark humor, voodoo, and......Hey I don't want to give it all away, just see it!!!

Right after the success of his masterpiece, the dark comedy "El Dia De la Bestia", Spanish director Alex De la Iglesia took a stab at Hollywood with this wild ride of marvelous insanity and bizarre entertainment. Sadly, the resulting movie was severely cut in the U.S. and the U.K. and didn't had the expected results as many labeled as another Tarantino-style film. While at first sight "Perdita Durango" indeed looks like a rip off of the movies by the Tarantino-Rodriguez tandem, this really black comedy is more a witty satire than a serious action flick.

The film is the story of Perdita Durango (Rosie Perez), a young criminal who one night meets Romeo Dolorosa (Javier Bardem), a crazed priest of an extreme form of Santeria who makes a life doing jobs for the mob. They fall in love and Perdita comes along in Romeo's latest job: the traffic of human fetuses for the cosmetic industry. On their trip, they kidnap two American teenagers for Romeo's human sacrifices. However, things go wrong as a DEA agent (James Gandolfini) follows them closely and the kidnapped teens try to escape.

Based on Barry Gifford's novel of the same name, the movie follows the criminal couple's adventure in the style of a road trip movie with the two couples (the criminals and their victims) as main characters. I can't tell how faithful the movie is to the novel, but it is definitely closer to Gifford's previous film adaptation, David Lynch's "Wild at Heart" than to the Tarantino films that are often compared to it. The movie is charged with black humor and disturbing violence, and is a brilliant satire of modern society.

Alex De la Iglesia crafts a film that is at the same time disturbing and funny, and he plays with those two very different emotions with very good results. The pacing of the movie is very good although it is true that at times it feels a bit disjointed. Still, De la Iglesia manages to tell an intelligent and different story than what we are used to. On a side note, the edited A-Pix version is missing what is probably the most important moment of the film due to copyright troubles, so to fully appreciate the film, the 125 version is the way to go.

The acting is good for the most part, with Javier Bardem showing exactly why is he considered the best Spanish actor of his generation; his Romeo Delarosa is one of the best performances of his career. Rosie Perez is effective, but at times it feels as if she weren't up to the challenge, something that hurts the film badly, as she is the main character. Harley Cross and Aimee Graham are very believable as the kidnapped teens and show potential for comedy, but the real joy comes from supporting actors Gandolfini and a surprising Screamin' Jay Hawkins.

Personally, I liked the film a lot and it is a personal favorite, but I must be fair and point out that it is not a perfect film. Alex De la Iglesia's main mistake is to focus too much on Romeo Delarosa's character, almost to the point where Rosie Perez almost becomes a supporting actress. The fact that Bardem's acting is enormously superior doesn't really help Perez' performance. On another point, the movie seems to lose steam at the last point, and while it does recover some of its initial power, the edited versions definitely take out this final improvement.

As written above, this is a personal favorite, and while I wouldn't recommend it to everybody (due to its disturbing images), I would definitely recommend it to fans of black comedies, disturbing thrillers and overall bizarre film-making in general. 8/10

I saw six movies in three days at my first Toronto Film Festival -- this one last, after a slow-moving Japanese film, "Afterlife" (which I also enjoyed, and the pace of which set up this film wonderfully). I saw this uncut and on the big screen, and it shot right through my veins like an amphetamine from a slingshot. Javier Bardem is one of those rare actors who is so good, who disappears so far into his roles, that a lot of people still don't know him. Pity -- he's the pivot of this film, the steady-burning sun around which equally dazzling Rosie Perez throbs in her mad ecliptic orbit. The acting is, in fact -- in spite of what you're reading elsewhere here -- perfectly pitched in all quarters. I managed to get an uncut video copy online a few years back from ebay, and it IS true, the movie loses a bit in the translation from big-screen to small, but trust me, it's still a wild ride. I left the theater feeling like I'd been set on fire with gasoline and Vaseline.