In retrospect, I think "Jamón,
Jamón" is a more balanced film because it encompasses my two
personal poles and worlds; the Bigas side and the Luna side, the
most humane and naturalist part. Everybody talks about the symbols
of this film but, having seen it repeatedly, I would suggest that
the only aspect that is of interest to us is the story of a girl
who suffers and nothing else.
[The Character: Raúl] is above all
the triggering factor of the passions of two of three of the female
leading characters in the story. He represents a sensuality that is
close to an animal, both in "Huevos de oro" (Golden Balls) and
"Jamón, Jamón" (Ham. Ham). But he is also a "body" that doesn't act
according to the commands of his brain but solely according to
sexual instinct. That is why he is doomed to failure. The final
sequence is a modern version of a 17th century allegorical
religious play with the two Madonnas holding the baby boy on their
lap amid the symbols of the boy's obsessions: the ham (food), the
Mercedes (luxury), etc.
BIGAS LUNA