Fantastic!

An Exercise In Nonsense

if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

Amazing worth wacthing. So good. Biased but well made with many good points.

Laughably melodramatic would-be erotica, a far cry even from the only other 2 Luna titles I've watched (which were themselves lower-tier efforts)! To begin with, Anita Ekberg (who appears briefly as the title character's larger-than-life drunken termagant mother, named Greta Gustafsson!) delivers a scenery-chewing performance; likewise, Jorge Perrugoria as the loutish egomaniac who drools over the girl all through the film is surely one of the most obnoxious characters I've ever had to suffer! While Italian sex symbol Valeria Marini tries, she's hampered by her babyish voice - not to mention the exaggerated moans during the love-making and the fact that the couple's relationship never convinces for a second (if it's supposed to evoke "l'amour fou", it's a pathetic attempt)! The subplot involving Marini's gay brother's desperation over unrequited love for an imprisoned stud (which is all magically settled by the end) is merely boring. Really, the only attention-grabbing element - apart from Marini herself, that is - is the score; the pet goats are cute, too. Actually, the version I watched may have been cut as the "Stracult" book mentions an unforgettable sex scene involving eels - but, here, this is over before it has even begun as we're rushed to its messy aftermath!!

.........I chanced across a Bigas Luna riding the sexual utopia of anything goes – and probably went. Fixations have never been a good idea in any direction, and if erotism is the crowning thorn in the exaltation of the most sublime that can be put on celluloid, as far as this Catalonian director is concerned, one might understand why I would rather give up the ghost. Having already been blessed with such titles as `Volavérunt' (1999) (qv), `La Femme du Titanic' (La Camerera del Titanic) (1997) and `Las Edades de Lulú' (1990) (qv) among others, I did not expect anything constructive cinematographically from `Bambola'. And I was right.More Italian than anything else, the story has nothing to offer any different from any other third-rate film based on sexual exploits coming out of Hollywood or anywhere else, such as those put on late at night on Saturday. It is obvious, watching any of Bigas Luna's films, that he has great talent, but if he is only able to focus on sexual adventures and fantasies, my suggestion is that he do something else. He seems to pick on dubious literature of a sexual fantasy nature, by rather poor writers – Almudena Grandes is the most notorious example – and seek to convert them into films: the result is mostly vulgar with very poor taste. I hope he never embarks on his version of Marguerite Duras´ novel `L'Amant', of which we already have a deplorable version (Jean-Jacques Annaud, 1991).`Bámbola' is nothing more than a modern attempt at some kind of story as lived by young Italians trying to grow up with their sexual awareness being aroused. So if you like actors breathing heavily as the camera creeps around at different angles of lovers' bodies, naked or only partially, you just might find something invigorating in this film. I did not: my intellectual level is a little above that of a pervert. Sorry, Señor Bigas Luna: I do not like your films, though I must admit you do have talent and ideas, concepts and visualizations for making films – it is just that, as far as I am concerned, you've gone up a dead-end street/cul-de-sac/calle sin salida.You need not bother with `Bámbola', but if you insist on a Bigas Luna film, try `Volavérunt', which, I must say, did not greatly please me, but at least it clambered out of the foaming pool of idiocy, which `Bámbola' did not. Two out of ten, because, as usual in Bigas Luna's films, the photography is very good.

This movie is interesting because the two relationships in this movie go well together-Bambola and Furio,and Bambola's gay brother and Settimio. Bambola and Settimio,both get to know what they want and who they really are by violence (rape). continous violence of Furio blocks Bambola to face the new herself but she does like the fear and confusion. It might be curiosity. And her brother's warm consideration helps Settimio to see the new himself.It is like this movie shows intense passion looks like lust and steady going love looks like normal and standard love. You may think of who you are, either Furio or Bombola's brother watching this movie. and I believe many people have this intense passion in their heart but they just don't show it for many reasons.

This movie could pretty well be described as the weakest, less inspired work of Bigas Luna in the last few years. All the freshness, irony, and visual appeal of "Jamon, Jamon" is missing, unfortunately replaced by a direction more focused on the "shock factor" than on creating a more solid structure.As far a "values" go, the movie contains some disturbingly twisted messages that most people could find indeed offensive. I seriously doubt any victim could fall so deeply in love with her cruel torturer, as Bambola does. From that point on, the movie loses all credibility, and everything starts going downhill. Bigas Luna pretends to shock you with a display of disturbing imagery and disturbed characters, but in the process forgets how to make the movie consistent. A wasted opportunity.