Profundo carmesí

Coral Fabre is a troubled chubby middle-aged nurse and a single mom to two kids. She has a fling with charming Nicolás Estrella. She continues pursuing him despite him stealing money from her. She abandons her kids to follow him in a crime spree across the country. She pretends to be his sister while he dates older lonely women. Their crimes escalate leaving a trail of broken hearts.

This is a Mexican film similar to the American film The Honeymoon Killers which dramatizes the story of "Lonely Hearts Killers", the true crime partners Raymond Fernandez and Martha Beck. The style is stripped down and minimal. These two are solid actors delivering compelling performances. Oddly for me, the most emotional scene is when she abandons her kids. These are troubled souls. She is possibly the more troubling of the two.

Arturo Ripstein's "Deep Crimson" is based on the same Lonely Heart Killers case that inspired "The Honeymoon Killers". Regina Orozco is riveting as the unattractive and fundamentally unlikeable nurse who abandons her children to take up with Daniel Giménez Cacho's pathetic, balding gigolo. They answer letters from lonely widows with the intention of robbing them, but jealousy and general incompetence lead them into a string of murders. Despite the sordid and depressing subject matter, the film has a distinct satirical edge and is often quite funny. Highly recommended, especially for fans of the earlier film.

Mexican director Arturo Ripstein delivers one good drama after the other, and in so doing shows us ever changing aspects of this surprisingly rich country, so unfairly characterized around the world by cliched stereotypes. Though this crime drama doesn't help Mexico's image as a crime-ridden country throughout its history, it does tell a compelling story, free of cliches, of obsessed love driven to serial killings in an unusual road movie. This description, though long, sums up PROFUNDO CARMESI. Ripstein's direction is enhanced by the dramatic presence of Spain's Marisa Paredes in a crucial role. A must for those interested in contemporary Latin American cinema.

The best Mexican cinema has its roots firmly planted in popular genres… "Deep Crimson" is a crime film, based on the real exploits of the so-called Lonely Hearts Club killers in the post-war United States…

Nicolás and Colar are a grotesque version of Bonnie and Clyde, who rob not banks but vulnerable rich women…Nicolás is a middle-aged man of abundant charm with an unconvincing wig, who appeals to the snobbery of elderly widows by his ability to pose as a Spaniard, affecting the accent and mannerisms of the expatriate… Coral is an overweight single mother who drives her children and takes off with Nicolás, pushing him from robbery to murder…

Though money is the apparent motive, Coral is addicted to romance, as we see in the first shot of her bedroom, stuffed with cheap but gaudy clothes, Mills & Boon-type novels, and photographs of film stars… The killings the pairs commit are dictated by Coral's passion for Nicolás… He seduces women in order to steal them, and this incurs Coral's murderous jealousy…

Arturo Ripstein's film is essentially a study of thwarted passion turning repugnant… Coral is vicious, even to the extent of killing a young girl who has witnessed her mother's murder… Yet her gesture of offering her own hair to make Nicolás a new wig is at once tender and ridiculous

If you haven't seen The Honeymoon Killers (1970), I feel it should be recommended to watch that before Deep Crimson. Its not necessary of course but one might appreciate both films a little more when the original is experienced first, generally speaking. I also think Deep Crimson is a tad better than the 1970 original, but they're pretty close and each has its pros over the other depending on your perspective. Without mentioning the plot details, I'll focus on style first. Honeymoon Killers was shot in black and white while giving off an almost amateur film/documentary vibe which gives it a gritty edge. It also seemed to mostly be shot in small interior spaces, giving a claustrophobic feel.

Crimson might have a more typical feel throughout the first three quarters, but its still beautifully shot, especially the fourth act which takes advantage of wide open spaces. My memory might have failed me but I think Deep Crimson did a better job with the psychological aspects of the characters. Both films are dark in subject but Crimson left me with a depressed feeling, like I shouldn't have seen what I just saw.