Bigas Luna is being touted as the new Pedro Almodovar in this Spanish comedy. I don't know about that, but the film is funny and interesting and a chance to see a lot of Penolope Cruz in her first film. Thae fact that you get a bonus with Italian beauties Anna Galiena and Stefania Sandrelli as the mothers just makes it more interesting.

The story is basic fare of the telenovella: Rich boy falls in love with prostitutes (Stefania Sandrelli) daughter (Penolope Cruz) and gets her pregnant; boy wants to marry her, but can't tell his domineering mother (Anna Galiena); boy's father is one of mother's biggest clients and doesn't want to get involved; when mom finds out, she pays her lover (Javier Bardem) to break up the pair; lover falls in love with girl; rich kid goes crazy; big fight with ham bones; death.

Let's see, there is a nude bullfight at midnight, some unnatural act with a pig, lots of references to ham, and lots of underwear modeling - male, that is - since that is where they make their money. In fact, it is Javier Bardem's filling out of the underwear that attracts him to momma.

Some really weird stuff - almost surreal at times - makes this a must see.

Jamón, jamón is a dark, sexy, disturbing and very sarcastic romance, that mercilessly satirizes Spanish mentality and culture, though it can't in all honestly be labeled a comedy. It's no surprise that its most passionate advocates, as well as critics, are Spanish; but to the non-Spanish viewer, it's still an entertaining and captivating film. Unfortunately, it suffers from an amateurish execution that sometimes makes it feel more like a Spanish soap opera than a feature, and since the satire will go over many viewers' heads, the poor character development, melodramatic and unconvincing acting, and often mishandled cinematography may be quite off-putting. Director Bigas Luna clearly shares many passions and tastes with the more world-famous Pedro Almodóvar, but he can't match Almodóvar artistry and visual flair; the heavy-handed symbolism, quirky sexuality and scenes that are apparently weird for the sake of weird make it feel like an Almodóvar rip-off (which it's not) and make it harder to appreciate the stronger scenes and the biting satire.

For non-Spanish viewers, the film's main draw is getting to see Penélope Cruz and Javier Bardem very early in their careers; while their top-billing position make it look like Stefania Sandrelli and Anna Galiena are the stars (probably because they were much bigger names in 1992) Cruz and Bardem are not only the real leads but also provide the film's best acting by far, so much so that whenever the scene cuts to one where neither one appears, the TV-soap feeling is suddenly much more pronounced - Sandrelli, Galiena and Jordi Mollà are ludicrously over-the-top, which is part of the point, but Cruz and Bardem manage to transcend that ludicrousness and their characters' flatness and are enough to make the film flow quite well. Fans of either one should definitely check it out; for them or for anyone else, it's a memorable and unusual film, worth your time, but very flawed and should not be approached with very high expectations.