Jamon Jamon

Anyone who can laugh at and perversely admire the absurd spectacle of his or her own grotesquely bizarre and fragile (how small a step to go from ecstatic fulfilment to abuse, and gradual dissipation) sexuality, while actually having sex, can be said to have achieved the detachment necessary to maintain a certain controlled pitch of eroticism within its course, which, needless to add, can be quite stimulating and rewarding. Bigas Luna's handling of the sex scenes in `Jamon, Jamon' always makes that 'laughing-in-the-face- and-midst-of-sexuality-in-order-to-transcend-self-defeating-high-brow-or-

sentimental-hang-ups-with-raw-sometimes-moronic-but-more-often-volcanically -exquisite-lust' attitude fully implicit, and that's why they're especially steeped in a rare erotic tension that smolders. Like most great films, Luna's Venice-Silver-Lion-Winner tries to subvert and break down outmoded but deeply ingrained rituals and methods of communication within society that need to die in order to allow the 'not-so-sly but-not-exactly-explicit-and-heavy-handed-either' imposition of its own patterns as suggestions toward new thinking and new answers to take root.

Want to see a hilarious but serious satirical film that mixes and makes superior use of eroticism, surrealism, gross out scenes, and a fantastic music score ? Look no further than these 90 minutes. As far as I know the longest nose to nose lip kiss with a fly on the face of one of the kissers is in this film. Penelope Cruz in at least 4 sex scenes very generously breastfeeding two different and equally hungry lovers (one of whom happens to be this year's oscar nominated actor Javier Barden) is also in this film and should more than serve to turbocharge red-blooded male libidos. A very gross scene involving a very annoyed pig that comes close to being the only appearance of beastiality in an R-rated film is in this flick. And, oh yeah, in case I forget, the scene of the two guys bullfighting buck naked which puts a new spin on, and pays an homage of sorts to the famous schlong-dangling naked wrestling scene in Ken Russell's `Women in Love' is also in this crazy film. Liked it very much. HIGHLY RECOMMENDED, especially for further seriously disturbing the mental imbalance of squeamish Americans used to Julia Roberts Soap Operas.

Jamón, jamón is a dark, sexy, disturbing and very sarcastic romance, that mercilessly satirizes Spanish mentality and culture, though it can't in all honestly be labeled a comedy. It's no surprise that its most passionate advocates, as well as critics, are Spanish; but to the non-Spanish viewer, it's still an entertaining and captivating film. Unfortunately, it suffers from an amateurish execution that sometimes makes it feel more like a Spanish soap opera than a feature, and since the satire will go over many viewers' heads, the poor character development, melodramatic and unconvincing acting, and often mishandled cinematography may be quite off-putting. Director Bigas Luna clearly shares many passions and tastes with the more world-famous Pedro Almodóvar, but he can't match Almodóvar artistry and visual flair; the heavy-handed symbolism, quirky sexuality and scenes that are apparently weird for the sake of weird make it feel like an Almodóvar rip-off (which it's not) and make it harder to appreciate the stronger scenes and the biting satire.

For non-Spanish viewers, the film's main draw is getting to see Penélope Cruz and Javier Bardem very early in their careers; while their top-billing position make it look like Stefania Sandrelli and Anna Galiena are the stars (probably because they were much bigger names in 1992) Cruz and Bardem are not only the real leads but also provide the film's best acting by far, so much so that whenever the scene cuts to one where neither one appears, the TV-soap feeling is suddenly much more pronounced - Sandrelli, Galiena and Jordi Mollà are ludicrously over-the-top, which is part of the point, but Cruz and Bardem manage to transcend that ludicrousness and their characters' flatness and are enough to make the film flow quite well. Fans of either one should definitely check it out; for them or for anyone else, it's a memorable and unusual film, worth your time, but very flawed and should not be approached with very high expectations.

This is a very entertaining film. Bigas Luna (director) loves life and all it's weirdness and beauty, which is rather evident in this wonderful film. Definitely a cure for boredom or sadness. The plot turns gets crazier as the film unfolds. Nothing is too much in this imaginative film. A must for all lovers of black comedy. Do also check out Mr Lunas "Teta y la luna, La (1994).

I approached Jamon Jamon with much anticipation, it was recommended by a close friend by whom it was described as an abstract, witty, satirical comedy; a film with ups, downs, and naked bull fights. I had to see this film. However, after an hour and half of sketchy performances, one-dimensional characters, and a barrage of farcical, poorly interwoven sub-plots, i found myself quite disappointed.

Jamon Jamon possesses all the components of what promises to be an entertaining movie: Quirky, abstract dialogue, offbeat humour, and dark yet comic scenarios. During the initial stages of the movie I felt engaged and involved, concerned about the young misguided couple, and the situation in which they find themselves. However as the film progresses seemingly irrelevant scenes of attempted quirkiness grow all too frequent. You get the distinct impression that Luna is simply attempting to emulate a directorial style established by his more experienced, capable predecessors. Not to discredit the movie to harshly. Luna is clearly able to produce scene's that are moving, profound, and original, there is simply insufficient character development so ultimately you begin to feel indifferent about the outcome of their predicaments.

In conclusion, Jamon Jamon is a noble failure, but a failure all the same. It has all the makings of a quality movie but is let down by it's composition, I feel it lacks a certain intimacy and distances the viewer in it's latter stages when we're meant to feel most involved. If you're a Luna's fan a recommend you see it, just don't get your hopes up to high.

A small Spanish town is dominated by two businesses , -an underwear factory and a brothel- both run by strong-minded women . In the factory works as an executive , Manuel (Jordi Mollá) , chief's (Juan Diego) son , and also his girlfriend Sylvia (Penélope Cruz was 16 years old when this movie was made) works on the shop floor making male underwear . The brothel's Carmen (Anna Galiena) and the Factory's Conchita (Stefania Sandrelli) clash when Carmen's daughter becomes pregnant by Manuel . When Sylvia falls pregnant , Jose Luis promises her that he will marry her , most likely against the wishes of his parents ; to be aware Conchita , she is appalled and seeks an extreme solution . As his mother to be opposed to this relationship to a young girl from a lower-class family , and she then hires stud Raul (Javier Bardem) , to seduce Sylvia , only to fall for him himself .

Weird melodrama satirizing various aspects of the Spaniard characters , including machismo , ¨Toros and Toreo¨ , food and sex . The special film title ¨Jamón , Jamón¨ , that's why in Spanish, the word "jamón" means ''ham'', while a ''jamóna'' is a ''dish of a woman" . This is a decent film , being first part of Bigas Luna's "Iberian Trilogy" , it is stylishly photographed and smartly designed . Here Bigas Luna delivers his ordinary and erotic goods in cool sense of style , but including a lot of unkindly characters . Entertaining and modern picture filled with young roles and concerning a beautiful girl who wishes a better life and becomes involved with a passionate triangle . This stirring as well as erotic story is a touching retelling and moving tale about wishes , lies and disappointments , but including strong sex scenes with loads of nudism . This interesting flick results to be a moving tale about ambition , desire , luxury and poorness . As usual in Bigas Luna films , ¨Jamón , Jamon¨ explores the darkest depths of eroticism and Latinos stereotypical , including the Spanish machismo . So-so acting by a very young Penélope Cruz who becomes pregnant , she plays an obstinate girl whose naïve dreams are soon shattered by the ruthlessness and mediocre Jordi Mollá as Jose Luis , an executive at his parents underwear factory who wants to marry Sylvia . The best acting is given by Javier Bardém as a potential underwear model and would-be bullfighter , he represents perfectly the typical ¨Iberian macho¨ who attributes his sexual prowess to a steady diet of garlic and ham . Support cast is frankly extraordinary , such as as Stefania Sandrelli as Conchita , Jose Luis' mother , who is determined to break her son's engagement and Anna Galiena as a mature prostitute who runs a brothel . Furthermore , a colorful and evocative cinematography by Jose Luis Alcaine who was first cinematographer to use fluorescent tube as "key" lightning and deemed to be one of the best Spanish cameramen . Alcaine frequently works with Pedro Almodóvar , Bigas Luna and Vicente Aranda , as he has photographed ¨The skin I live in¨ , The bad education¨ , ¨Volver¨ , ¨Women in the verge of a nervous breakdown¨, among others . And a sensitive musical score by Nicola Paviani , including an enjoyable leitmotif .

The motion picture was compellingly directed by Bigas Luna , following his particular style , though is is full of nudism , intercourses and Softcore . He often uses in his films twisted events , erotic scenes and surrealist images , here including Goya/Luis Buñuel frames-alike . He was a Bon Vivant who along with his wife , produced wine , ham , and organic products ; they are well shown in his films . For 39 years, under General Francisco Franco's repressive regime , it was almost impossible for Spain to create a vibrant film industry and for talented film-makers to express themselves freely . However, after the death of the Generalissimo in 1975, there was a burst of creativity, with Pedro Almodóvar paving the way for directors such as Bigas Luna , who has died of cancer aged 67 . In 1990 the producer Andrés Vicente Gómez persuaded him to return to cinema and entrusted to him the direction of Las Edades De Lulú (The Ages of Lulu) , an erotic drama about a young woman exploring extreme sexual practices , this was a commercial hit . Without abandoning his dedication to painting and photography , reflected in numerous exhibitions , he began the well-known "Iberian Trilogy" with Jamón Jamón ("Ham, Ham", 1992) , Huevos de Oro ("Golden Balls", 1993) and La Teta y La Luna ("The Tit and the Moon", 1994) which explored the darkest depths of eroticism and stereotypical Spanish machismo . Jamón Jamón, which launched the careers of both Javier Bardem and the 16-year-old Penélope Cruz was a major international success and won the Silver Lion at Venice in 1992 . The latter introduced Penélope Cruz to audiences and launched Javier Bardem as the embodiment of the Spanish stud . "I owe my career to Bigas Luna" , Bardem said in 2001 . Cruz returned in ¨Volavérunt¨ (1999), a film about the relationship between Francisco Goya and the Duchess of Alba . His last film was ¨Di Di Hollywood¨ with Elsa Pataki that failed at box office until his recent death .