Jose Luis is an executive at his parents underwear factory where his girlfriend Sylvia works on the shop floor. When Sylvia falls pregnant, Jose Luis promises her that he will marry her, ... See full summary »
In 1931, a young soldier (Fernando) deserts from the army and falls into a country farm, where he is welcomed by the owner (Manolo) due to his political ideas. Manolo has four daughters (... See full summary »
Fernando Fernán Gómez,
A girl's mother returns after 15 years to find her daughter has married one of her (the mother's) old boyfriends. They try to mend their broken mother/daughter relationship and deal with ... See full summary »
Recent college graduate Benjamin Braddock is trapped into an affair with Mrs. Robinson, who happens to be the wife of his father's business partner and then finds himself falling in love with her daughter, Elaine.
Jose Luis is an executive at his parents underwear factory where his girlfriend Sylvia works on the shop floor. When Sylvia falls pregnant, Jose Luis promises her that he will marry her, most likely against the wishes of his parents. Jose Luis' mother is determined to break her son's engagement to a girl from a lower-class family, and hires Raul, a potential underwear model and would-be bullfighter to seduce Sylvia. Written by
Murray Chapman <firstname.lastname@example.org>
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.
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