La veuve noire

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.

Hilariously contrived and utterly compelling, Black Widow is always worth a re-viewing when the video shelves are dry. It's beautifully filmed, competently acted, and contains some of the most rousingly misguided plot twists known to this cinephile.

No spoilers here, but the ending is a knee-slapper, as is the otherwise quite capable Theresa Russell's foray into a southern belle accent. It's all very slick, but in a good way, with the considerable lily gilded by attempts at intellectualizing a movie which could be refilmed with startlingly few changes for a Cinemax Late Night soft-core extravaganza. Kudos to Russell, of course, Winger, James Hong and Mary Woronov just for being Mary Woronov for at least one scene; it's just a shame that a movie which makes a stab at well-rounded female characters (at the very least by making the male characters so weak [truth is, I can scarcely remember the names of any of the male characters] that one cannot help but invest all subjectivity with the female characters) operates under the notion that the Debra Winger character discovers her womanhood vicariously through the exploits of the sensuous, if surprisingly (in context) asexual, man-killer Russell, which is not exactly the most progressive notion. Essential viewing nonetheless.

Debra Winger and Theresa Russell both give very good performances in this excellent suspense/mystery.

Theresa Russell plays a woman who seduces older, RICH men, marries them, and then kills them by making the deaths look like a natural cause. Debra Winger plays the woman on her tail who is determined to nab her.

Both of the leading ladies in this film are enticing and the film keeps you wanting more to the very end. Excellently portrays why the spider called the Black Widow has it's name.

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

It is good and an enjoyable watch with fine cinematography but there are problems. We would have liked to see more of Dennis Hopper and a little less of Sami Frey. The former seems in fine and vibrant form but the latter diffident and uncomfortable which makes it difficult during later key scenes. Biggest problem of all though is that we become so bewitched, so mesmerised by the beauty, tenacity and manipulative skills of Theresa Russell she rather overshadows the good work of Debra Winger and we find ourselves on the wrong side. This may have been intentional but it is a difficult trick to pull off and when we have to further consider possible affection between the girls the very glue that has held the premise of hardworking and well meaning FBI investigator against the world, comes a little unstuck. Still a fine watch, however, and a super twist.