Black Widow

This is a terrific movie that reminds one what we lost when Debra Winger slowed down her movie-making. She gives an honest, heartfelt performance as an investigator chasing a woman who marries rich and whose husbands wind up dead every time. The widow then remakes her appearance, gets a new identity, and dupes another man. Only Winger is convinced that this trail of murders is the work of one woman.

Eventually she catches up with this black widow (Theresa Russell) and the two hang out together in Hawaii. The Russell character likes the danger - she knows Winger is after her, and after trying to kill her during a scuba dive, saves her at the last minute.

My favorite scene with Winger is the one in which she almost tells Nicol Williamson the truth about his bride. She stands and stares at him - she knows he's going to die, she knows he won't believe her - you can see every thought in her head until, regretfully, she leaves.

Theresa Russell has the right detachment for this role. One suspects the character is a real man-hater and is, in fact, attracted to Winger. Winger is admiring of Russell's constant flirtation with danger. This is a complex relationship that the two play out. The finale is not up to the standard of the rest of the film, but I still highly recommend it.

Winger and Russell are sensational here, characteristically different yet essentially the same in nature. The sinister plot trappings and black widow symbolism keep the film lively but only serve to heighten the intriguing subtext of two women obsessed with success and competition. Winger is exceptional as always, and while Russell is notably uneven as usual, they both succeed admirably. All the supporting parts are brilliantly played. This is one of the finest and most enjoyable femme fatale films around. A widescreen version is thankfully now available on DVD from Fox.

Debra Winger is great as always as the FBI backroom researcher allowed out for a change to pursue her theory that the widows of several millionaires who have all died of the same rare disease are in fact the same woman.

She finds herself fascinated as well as repelled by Theresa Russell's glamour, lifestyle and ability to use men for her own ends. Russell in her turn sees her as a worthy opponent (unlike all those men she takes in so easily).

In fact all the men are just part of the background to the play between Winger and Russell.

Its a terrific film all round and I may be alone in this, but I think the ending works.

This murder yarn details the career of a female killer who marries men for their money, dispatches them without leaving any clues, then lays claim to their wealthy estates and moves on in search of another goldmine. The murders come to the attention of Debra Winger, a Federal investigator, although the film doesn't explain why the government is interested in these cases. Theresa Russell, the title character, is the attractive, intelligent woman who wins the confidence of the men she targets and uses her irresistible charm to disarm her suitors. Winger soon cultivates a friendship with Russell to get closer to her and anticipate her next moves but knows that she and her quarry are on a collision course. The women play subtle cat-and-mouse games with each other until the surprise ending, which proves that a black widow can spin one web too many. Winger and Russell generated an undertow of erotic tension between them that the picture didn't explore but the movie remains a good mystery.

Black Widow is directed by Bob Rafelson and written by Ronald Bass. It stars Debra Winger and Theresa Russell. Music is by Michael Small and cinematography by Conrad L. Hall.

Two women. Catherine marries men for their money, then murders them. The other, Alexandra Barnes is on her tail, getting in close to hopefully expose her crimes...

Rafelson's neo-noir homages the film noir femme fatales of the 40s and 50s with a high degree of success. There's much potency in the screenplay that puts it firmly in the noir universe. Flip flopping the misogyny angles of yesteryear, picture pitches the ultimate femme fatale destroyer of men into a cat and mouse scenario with a sexually repressed opponent - or is she a jealous but secret admirer? The transformation of Winger's dowdy Justice Department Agent into a blossoming lady at Catherine Black Widow's (Russell super sexy and sensuous) side brings in the doppelgänger effect, a good old noir staple. The sexual tension is a constant, particularly when Paul Nuytten (Sami Frey) is brought into proceedings, something which shifts the piece still further into noirville.

There's also other characters straight out of film noir. Be it Alexandra's boss (the always reliable Terry O'Quinn), who's harbouring carnal desires for Alex, or sleazy Private Investigator H. Shin (James Hong) who has a needle habit, it's clear that Rafelson and Bass know their noir. Unfortunately most of the play is in daylight, meaning missed opportunities for some psychological shadow play is passed up. Though it should be noted that Hall's photography is slick and tonally in tune, especially when lighting scenes involving Russell as prime focus. It all builds to a splendid finale, the makers pulling us both ways as to where it will lead. Sure, some of the plot devices are weak, but in the main this is sexy, intriguing and tricky in narrative, whilst tech credits stay at the higher end of the scale. 7/10