The film is like a sarcastic stab up against all that is wholesomely middle-class – Harley Cross and Aimee Graham (Heather’s sister) give hilarious performances as the whitebread kids with some hysterical scenes like where Cross tries to offer white guilt apologies for the mistreatment of Mexicans or where the two of them start nominating the other to be chosen for sacrifice. There is a genuine blast of anarchic splendour and malice to Alex de la Iglesia’s direction. Perdita Durango is a splendidly irresponsible film. Perdita Durango (Rosie Perez) and Romeo Delarosa (Javier Bardem) Both also kidnap and forcibly rape a young white teenage couple with the intention of using them as human sacrifices – and Romeo later tries to sell the girl into prostitution to a pimp to pay off a debt. Romeo at one point conducts a human sacrifice and eats the victim’s heart in a Santeria ceremony. Here Perdita Durango and Romeo Delarosa are two similar lovers but they are steeped in evil – one is a bank robber, both are cold-blooded murderers.
In Wild at Heart, Sailor and Lulu were essentially good kids who had traveled onto the wrong side of the tracks trying to find love in a deranged world that was stacked against them.
Perdita Durango is in many ways a far more dangerous film than Wild at Heart was. Perdita Durango is similarly construed as a road movie featuring two outlaw lovers on the run from various killers (including the character of Marcelo Santos from Wild at Heart). Wild at Heart was a psychotically fractured road movie where Lynch kept pushing into disturbed mental spaces in ways that were genuinely startling. This novel was then made into a film by Spanish director Alex de la Iglesia, a former Pedro Almodovar protege, who has made a string of genre films and since become a major Spanish director (See below for Alex de la Iglesia’s other films). The character then became the subject of a novel 590 and Raining: The Story of Perdita Durango (1992) by Wild at Heart‘s original novelist Barry Gifford, the third of seven books that Gifford has spun out based on the original characters. In Wild at Heart, Perdita Durango was a minor character who appeared toward the end of the film, played by Lynch’s wife Isabella Rossellini. Perdita Durango is not so much a sequel or a prequel as it is a spinoff of David Lynch’s Wild at Heart (1990).
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