Profundo carmesí

Coral Fabre is a troubled chubby middle-aged nurse and a single mom to two kids. She has a fling with charming Nicolás Estrella. She continues pursuing him despite him stealing money from her. She abandons her kids to follow him in a crime spree across the country. She pretends to be his sister while he dates older lonely women. Their crimes escalate leaving a trail of broken hearts.

This is a Mexican film similar to the American film The Honeymoon Killers which dramatizes the story of "Lonely Hearts Killers", the true crime partners Raymond Fernandez and Martha Beck. The style is stripped down and minimal. These two are solid actors delivering compelling performances. Oddly for me, the most emotional scene is when she abandons her kids. These are troubled souls. She is possibly the more troubling of the two.

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.

Smooth-tongued Nicolas and over-sized Coral meet through a sexy advertisement in the personal columns. Coral who adores Charles Boyer clings to Nicolas as the next best thing. They form a partnership and decide on a plan - to seduce rich women and make off with their money and valuables. It looks all too easy.The plan works well until Coral believes he might be over-doing the seductions and falling for the ladies. It really seems we are in for a good comedy. Nicolas is having trouble with his hairpiece and Coral really does have a weight problem.I guess the comic situations do accent the drama which is to follow. The frivolous dialogue starts to become more serious, especially when one of the victims informs them she has become pregnant. Because many of the homes visited are isolated in desert areas of Mexico, it would seem easy to dispose of a human being should that person be involved in some kind of accident.With cold determination Nicolas and Coral become involved in a new plan - one of murder. At this point we grip our seats and anticipate the worst for the unwary victim. The atmosphere is tense, no help is at hand and the murderers carry out their horrible plan. The ending I think is rather abrupt (some scenes have been edited out, perhaps) but it makes the point that crime does not pay. I have seen many road movies, but this one, I must confess, is the bloodiest of them all.

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.

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.