BARB WIRE
A film review by James Berardinelli
Copyright 1996 James Berardinelli
RATING (0 TO 10): 2.0 Alternative Scale: * out of ****
United States, 1996 U.S. Release Date: 5/3/96 (wide) Running Length: 1:35 MPAA Classification: R (Violence, profanity, nudity) Theatrical Aspect Ratio: 1.85:1
Cast: Pamela Anderson Lee, Temura Morrison, Victoria Rowell, Jack Noseworthy, Xander Berkeley, Udo Kier Director: David Hogan Producers: Brad Wyman, Mike Richardson, and Todd Moyer Screenplay: Chuck Pfarrer and Ilene Chaiken Cinematography: Rick Bota Music: Michael Colombier U.S. Distributor: Gramercy Pictures
BARB WIRE has the cleavage of a Russ Meyer film without the jiggle. If someone was going to make a campy version of CASABLANCA, you'd think they'd at least have the decency to make it fun. Unfortunately, other than a couple of very obvious, absurdly over-the-top scenes, this film is just plain boring. Aside from observing Pamela Anderson Lee's apparent assets, the only reason to stay awake during BARB WIRE is to see how often it pilfers from the Bogart/Bergman classic.
The characters and setting may be based on the Dark Horse comic book, but the plot is pure cyberpunk CASABLANCA. It's 2017 (the worst year in the main character's life, as we're informed in a whispery voice-over), and the country is involved in the Second American Civil War. There's only one free city left, Port Steel Harbor, and that's where Barb Wire (the "Rick" part, played by Pamela Anderson Lee) owns and operates the Hammerhead bar. She's a declared neutral in an unaligned territory, accepting patronage from both the Nazi-like Congressional forces and the rebels trying to bring them down.
One day, a defecting government scientist in possession of critical resistance intelligence, Dr. Karina Devonshire (the "Victor Laszlo" part, played by Victoria Rowell), arrives at the Hammerhead in the company of a resistance fighter, Axel (the "Ilsa" part, played by ONCE WERE WARRIORS' Temura Morrison). They need a way across the border into Canada, and think Barb may be able to help. But there's a problem -- she and Axel were once lovers, and she's never forgiven him for abandoning her in Seattle.
Most of the CASABLANCA characters are present (although half have undergone sex changes), and the story progresses in generally the same way (with a few fight scenes thrown in so that the leading lady can show off her athleticism, amongst other things). It's curious that no one thought to credit CASABLANCA script writers Julius J. Epstein, Philip G. Epstein, and Howard Koch for at least "inspiring" the film. Then again, for the sake of their reputations, maybe it's better this way.
Despite being outfitted in leather and spike heels, Anderson Lee doesn't make for an appealing action star -- the silicon enhancements might have screen presence, but the star doesn't. Okay, so she looks good on a motorcycle, but that's about it. Her delivery of the requisite quips is awful, and her signature line ("Don't call me babe!") reminds one more of Kevin Kline's A FISH CALLED WANDA refrain ("Don't call me stupid!") than anything Clint or Arnold might ever have uttered.
The film makers undoubtedly recognized that they were making a bad film. Why else cast such an obviously-untalented actress in the lead role? What they seemed to be banking on is that BARB WIRE would at least be fun, which it isn't. The element of high camp that makes for enjoyable "good trash" isn't present. Bad movies like this often generate small cult followings, and that's about the size of audience the picture deserves. This BARB WIRE is rusty.
- James Berardinelli e-mail: berardin@bc.cybernex.net web: http://www.cybernex.net/~berardin
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