Among other things, 'Naked Tango' suffers from a poor central story idea. Stephanie (Mathilda May) a young woman in an apparently loveless marriage of convenience to a much older judge (Fernando Rey) finds herself on a honeymoon cruise and meets a young woman named Alba who commits suicide by diving overboard. Seeing a way free from the boring bonds of wedlock, Stephanie assumes Alba's identity and is ultimately duped into involuntary servitude in an Argentinian tango parlor/whorehouse. While in Argentina, Stephanie meets and is captivated by Cholo (Vincent D'Onofrio who is so covered in cheesy eye make-up a la Duran Duran, he looks more clownish than commanding) a master of tango and apparently the master in what becomes a laughably implausible S&M tinged 'relationship' between Stephanie/Alba and Cholo. There's plenty of nudity and violence and sex and precious little of the tango that supposedly inspired this film.
The film is visually striking, sophisticated in its use of color and Milena Canonero's costumes and has some marvelously atmospheric and moody sets. But like D'Onofrio's later films 'The Cell' and 'Chelsea Walls', the 'pretty picture' factor and the artsy lensing are not enough to sustain a whole 92 minutes (which is what the longest version of this film available for home viewing, on a Japanese laser disc and not on either the Canadian or European VHS tapes) of total viewer involvement. This film runs like a super-long music video, only without enough music or dancing to make it an *engaging* super-long music video.
If all you care about is seeing May's character naked or D'Onofrio's character having rough sex with May, you won't be disappointed. But fans of D'Onofrio's *acting* ability or the *tango* are going to feel shortchanged because there is so little of both for them to experience (although what little is there is interesting). It's too bad 'Naked Tango' is such a tease, because it could have been as fascinating and mysteriously erotic as Rudolph Valentino in the tiny clip of 'The Four Horseman Of The Apocalypse' that appears early in 'Naked Tango'...the sex and violence and nudity are boring sidetracks from the dancing and the unexplored sides of Cholo's shady but intriguing Buenos Aires of the 1920s, where the really magnetically interesting story lies as submerged and abandoned as the real Alba's body.
This film is only recommended for its eye candy, not it's ability to substantially feed your yearnings for a good and imaginative story.
The film is visually striking, sophisticated in its use of color and Milena Canonero's costumes and has some marvelously atmospheric and moody sets. But like D'Onofrio's later films 'The Cell' and 'Chelsea Walls', the 'pretty picture' factor and the artsy lensing are not enough to sustain a whole 92 minutes (which is what the longest version of this film available for home viewing, on a Japanese laser disc and not on either the Canadian or European VHS tapes) of total viewer involvement. This film runs like a super-long music video, only without enough music or dancing to make it an *engaging* super-long music video.
If all you care about is seeing May's character naked or D'Onofrio's character having rough sex with May, you won't be disappointed. But fans of D'Onofrio's *acting* ability or the *tango* are going to feel shortchanged because there is so little of both for them to experience (although what little is there is interesting). It's too bad 'Naked Tango' is such a tease, because it could have been as fascinating and mysteriously erotic as Rudolph Valentino in the tiny clip of 'The Four Horseman Of The Apocalypse' that appears early in 'Naked Tango'...the sex and violence and nudity are boring sidetracks from the dancing and the unexplored sides of Cholo's shady but intriguing Buenos Aires of the 1920s, where the really magnetically interesting story lies as submerged and abandoned as the real Alba's body.
This film is only recommended for its eye candy, not it's ability to substantially feed your yearnings for a good and imaginative story.