Profundo carmesí

The plot has been commented by other viewers, so let's move on. I saw this movie when it came out in theaters and loved it, especially the development of the plot (based on the same true events portrayed in Leonard Kastle's cult classic "The Honeymoon Killers") and the way Ripstein expertly evolves from black humor to suspense to bloody tragedy. I also loved the bolero-like title (say it in Spanish -Profundo Carmesí- beauuutiful), the choice of colors (thick greens, reds, blacks and browns), the set decoration, the actors, the all-imposing Catholic symbols and Catholic guilt which are so present in Latin American cultures...

So I thought it was a film about SICK love and misleading appearances, how harmless-looking people can hide sick violent personalities that may ignite under certain circumstances, never to return to what they were before.

A few years later, I happened to see an interview with Ripstein about this film, which urged me to see it again. He said it was a film about the dangers of romantic passion, tout court -- in the sense that passionate love is just one step away from isolation from society's values and conventions - and I thought "yes, this makes sense!". "Profundo..." is (also) about the pathological potential of any passionate love: the anti-social, selfish, self-consuming and potentially destructive behavior a love affair can trigger, to the risk of excluding friends, family and professional life from the lovers' agenda, and when nothing really matters except each other, their plans and their being together against all odds or reasons. Coral's behavior, dumping her children, lying, stealing, killing, marching on regardless of everyone else's feelings or actual physical integrity is a depiction of a sick personality...or is just a step or two further than the average person "madly" in love??

"Profundo Carmesí" is great, but do I have to mention not to expect anything uplifting? My vote: a good 8 out of 10, just don't see it if you've been recently dumped by your lover/husband/wife; it might give you bad ideas!!

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.

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.

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.

"Deep Crimson", a subtitled Mexican film, tells of a man who uses his hair-piece, good looks, and charm to bilk mature women out of their money. When he woos a very large and homely woman longing to be loved, she divests herself of her children, insinuates herself into his life, and goes off scamming with him while pretending be his sister. The backbone of the story is the strange symbiosis which develops between the partner/lover duo as we watch their relationship grow deeper and their scheming more nefarious. A moderately entertaining though schizophrenic film, "Deep Crimson" is too much of a comedy to be taken seriously and too much of a drama to be funny. The result is a marginally engaging film which will play best to those with a taste for black comedies from south of the border. (B)