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阿尔莫多瓦编导的第二部作品,安东尼奥·班德拉斯出演配角。影片中再次体现出了那种及时行乐以及性乱的题材,阿尔莫多瓦展开了以后贯穿他作品的“性”主题:性迷乱、性倒错、同性恋、乱伦等等。对这些不容于道德主义的主题,阿尔莫多瓦采取了一种宽容甚至是理解的暧昧态度,赋予这些"不堪入目"的行为一种扭曲的美感和同情的解释。正是这种暧昧适时的传达出从政治和历史重压下释放不久的西班牙民众的迷惑与混乱。   对于班德拉斯来讲,如果说因为腿伤没实现当足球运动员的梦还有些无奈的话,那么他盲打误撞成了电影明星显然是幸运的。而后由西班牙著名导演阿莫多瓦培养出来了一名优秀演员。从1982年到1990年,他在六部阿莫多瓦的影片中担任了主角。从1982年的《情感迷宫》,1983年的《高跟鞋》,1988年的《濒临崩溃的女人》直到1990年的《绑上绑下》,班德拉斯已经成为阿莫多瓦影片中不可缺少的一种人性的符号。   他拥有一种“魔性”。但不同于亚兰德伦的魔性有着纯美的外形作基底,班德拉斯的魔性是质朴的、浑厚的、带着催眠般的性感。他的眼神,萃聚了西班牙最浓郁的风情,解释着一种优秀的西班牙气质,令人次联想到基因的神奇。 安东尼为我们提供了“拉丁情人”的模板。一般拉丁情人是油滑放浪的模样,安东尼欧却深情而真挚;他的浪漫情调浑厚、绵长,带着成就爱情的力量。像汤姆克鲁斯和布莱德比特这类的"美式金童"就稍微欠缺了些这样的深度,诠释角色的手法永远都比较儿童化、比较肤浅;而安东尼欧却能令人生阅历丰富的中老年人都为之动容,应该就是因为他身上那挥之不去的“制约之美”所造成的吧
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