Cast: Antonio Banderas, Angelina Jolie, Thomas Jane, Jack Thompson
Director: Michael Cristofer
Producers: Denise Di Novi, Kate Guinzburg, Carol Lees
Screenplay: Michael Cristofer, based on the novel "Waltz Into Darkness" by Cornell Woolrich
Cinematography: Rodrigo Prieto
Music: Terence Blanchard
U.S. Distributor: MGM
Most of the pre-release publicity associated with Original Sin has concentrated on the digital "wiping" of Angelina Jolie's tattoos during her nude scenes. From this, one might easily conclude that nudity is just about the only thing this movie has going for it. And, while such as assessment would be unkind, it would not be entirely unfair. Original Sin is strictly Grade B material - a lurid melodrama sprinkled with thriller and mystery elements. It also becomes the latest feature to fall victim to IES - idiotic ending syndrome. Were it not for the involvement of Jolie and Antonio Banderas, this picture would have been headed directly for the Blockbuster near you. But, while those two stars raise the film's visibility, they can't do anything for its overall caliber. Original Sin is cable fare masquerading as a theatrical feature because of its high-profile cast.
Original Sin is based on the novel "Waltz Into Darkness" by Cornell Woolrich, the author of the story Hitchcock used as the basis for Rear Window. Nevertheless, in terms of general quality, it would be difficult to find two more dissimilar films. The first of Original Sin's numerous problems is a failure to generate suspense. For a movie that runs for nearly two hours (and seems a lot longer), this is deadly. There are plenty of plot twists, most of which stretch the viewer's credulity, but their presentation is so pedestrian that we don't really care. Rather than flowing naturally into the overall narrative, they seem like a desperate ploy on the part of writer/director Michael Cristofer (Body Shots) to keep the audience from losing interest or falling asleep.
The movie transpires in 1880 Havana, where wealthy businessman Louis Durand (Banderas) has decided that it's time for him to get married. His qualifications for a wife: she must be "kind, and true, and young enough to bear children." Love doesn't enter into the equation. He ends up importing his bride from the United States. She is Julia Russell (Jolie), a young woman trying to put her past behind her. She and Louis are married, and, at first, they seem deliriously happy. He is so smitten that he allows her access to all of his considerable financial resources. But the "honeymoon" ends when Julia vanishes in possession of her husband's money. Louis sets off in pursuit, although whether to kill her or to win her back, not even he can say.
At various points in their careers, both Banderas and Jolie have turned in remarkable performances. Watching what passes for acting in this film, it's hard to believe that. The leads look good - Banderas with his rugged features and Jolie with her full breasts and pouting lips - but they never truly inhabit their characters. Louis and Julia are pawns of an overactive plot. Any emotional connection we develop with them is perfunctory. The movie's villain, a pimp played by Thomas Jane, falls into the trap of being the embodiment of pure nastiness, with Jane dreadfully overacting the part. His hamminess is rivaled by that of the normally reliable Jack Thompson, who plays Louis' business partner.
Despite being completed and ready for distribution, Original Sin has sat on the shelves at MGM for nearly a year. The studio initially decided to release it last November, then pulled it back. Then it was slated for February. Now, finally, it is being unceremoniously launched in August amidst a few titanic blockbusters and a lot of cinematic flotsam and jetsam. With Tomb Raider, Jolie has already had one summer hit. It is highly unlikely that Original Sin will accord her a second one.
© 2001 James Berardinelli