Black Widow [1987] Bob Rafelson

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Black Widow (1987)


http://www.imdb.com/title/tt0090738/

Black Widow is a 1987 film starring Debra Winger, Theresa Russell, Sami Frey, Nicol Williamson and Dennis Hopper.

It is a crime drama about two women: one who murders wealthy men whom she marries for their money, and the other an agent with the Department of Justice who grows obsessed with bringing her to justice. It was directed by Bob Rafelson, from a screenplay by Ronald Bass.

Debra Winger as Alexandra Barnes
Theresa Russell as Catherine Petersen
Sami Frey as Paul Nuytten
Dennis Hopper as Ben Dumers
Nicol Williamson as William McCrory
Terry O'Quinn as Alexandra's boss Bruce
James Hong as H Shin - Honolulu private investigator
Diane Ladd as Etta

There is a lot to like about Black Widow. The film has a distinctive look that emphasizes realism while creating a stylized aesthetic. Lush shots of Hawaiian scenery contrast with noirish interiors. A careful color scheme employs primary colors that skirt garish, but tend to unify the image. Cinematographer Conrad L. Hall is responsible for the distinctive look of many great films, such as Cool Hand Luke, Butch Cassidy and the Sundance Kid, American Beauty, and Road to Perdition. Black Widow isn't his master work, but it is obvious that care and craftsmanship went into the visual feel of the film.

Most of Black Widow's interest is generated by the central relationship. Debra Winger and Theresa Russell's characters are locked in a deadly spiral of attraction and repulsion that transcends the usual hunter/prey scenario. An undercurrent of primal lust sparks between them. Each is taken out of her usual game by the other's provocations; the women fascinate and irritate each other. Alex is determined and capable, though not precisely likeable. She has foregone fashion and polish for proficiency. We root for her and fear for her. Her adversary is the pinnacle of feminine charm, able to insinuate herself into any man's fantasy. In her own way, Catherine is as calculating and studious as Alex. The similarity between them is the basis for the mutual attraction and disdain.

Black Widow beautifully creates this dynamic, but sadly fails to capitalize on it. The film drops hints of an attraction between the women, uncontrollable and primal if not wholly sexual. Alex's erotic CPR practice on Catherine is later reciprocated in a fierce kiss. The women share clothes and men, but never a bed. Sexual tension mounts then dissipates. The lack of exploration of the themes Black Widow establishes for itself seems artificially chaste, particularly since Russell and Winger both shed clothes when the situation is appropriate. It isn't only sexual tension that fails to reach a climax. The dynamic between the two is professional and personal, but it never comes to a head. The ending is riddled with inconsistencies and artifice that does a disservice to the preceding characterizations.

Writer Ronald Bass has penned his fair share of hits. He is the screenwriter behind Rain Man, The Joy Luck Club, Dangerous Minds, My Best Friend's Wedding, How Stella Got Her Groove Back, and Sleeping with the Enemy. Black Widow stands out from that crowd because it is not based on a previous novel. Bass manages to generate an interesting relationship with subtle character-driven twists. Yet the screenplay shows signs of uncertainty. Instead of taking the more daring road, Bass opts for safe territory.

Nonetheless, the pieces were still in place for a transcendent thriller. Director Bob Rafelson just doesn't pull the strings together. Rafelson has directed some fine movies, most of them starring Jack Nicholson. Rafelson doesn't coax the same commitment out of Russell (and to a lesser extent, Winger). The ladies aren't wooden; Winger especially imbues Alex with her trademark spirit. The duo simply isn't as dark and engaging as they could have been. Part of the conservative feel of the film comes from the wholly linear plot progression. Very little is left out, rearranged, or manipulated. A handful of judicious cuts and fades would have given Black Widow a moodier bent and sharper emotional focus. What we get instead connects the dots from beginning to end. The linear plot, routine direction, and watchable but not quite gripping performances give Black Widow a made-for-TV vibe. It's frustrating, because Black Widow is certainly higher caliber. With a risk or two here and a departure from the straight and narrow there, Black Widow might have really distinguished itself.