That playfulness gets the movie off at least one hook: The material isn't as disturbing as it might have been, because we have the sense that this isn't a real "kidnapping," especially after the woman begins to assist in her own captivity. Does she enjoy being someone's possession? There certainly is a lot of security in being tied up and cared for, and you don't find yourself with a lot of tough decisions to make. In a perverse sense, it is always the captive who is in control, always the masochist who gets what he desires.
影片玩闹的风格至少让人们完全相信（gets off the hook）：这样的题材并不如其一直以来那样让人不适，因为我们感觉到这不是一次真正的绑架，特别是女主人公开始自觉接受绑架之后。是否她享受成为别人的收藏呢？当然，被绑起来、被照顾多少是有一些安全感，而且还不用烦恼于自己做决定。从反常的（perverse）角度来看，总是被俘虏的人掌握控制权，总是性受虐者能够满足他的欲望。
If Almodovar had gone further in this direction - if he had explored the paradoxes of this sort of sexual captivity - he might have had something here, maybe a dark comedy to remind us of something by his Spanish countryman, Luis Bunuel. But the movie is too flighty and uncentered, and it allows actual violence to break the spell when false alarms would have sufficed. It's most entertaining in the quiet times in between the big moments - the little scenes where Marina begins to understand Ricky just a little.
如果阿尔莫多瓦继续走这个方向——如果他继续探索这种性束缚中的矛盾——他也许给我们带来一部黑色喜剧，让我们想起他的老乡路易斯•布努埃尔。但是影片显得过于轻浮（flighty）而不着重点，在往往假警报就足够的时候，还允许直接的暴力镜头出现来打破节奏（break the spell，打破诅咒）。重大时刻之间的平静空隙是最好看的——当Marina开始逐渐理解Ricky的那些小情节。
Almodovar's inventive direction, superb lensing by Jose Luis Alcaine, a fine score by Ennio Morricone and top technical credits make pic a pleasure to watch. The film has the same Spanish framework as its predecessors, reflecting the modern, amoral, sex and drug culture of modern Madrid, intertwined with long-entrenched religious and social values. Abril and Banderas are compelling to watch as the central couple.
阿尔莫多瓦创新的导演，Jose Luis Alcaine超凡的镜头表达，Ennio Morricone的出色配乐以及顶尖的技术人员让这部影片赏心悦目。影片具有前作那样的西班牙架构，反映着拥有现代生活、反道德、性与毒药文化横行的现代马德里，交织着悠久建立的（long-entrenched）宗教和社会价值观。Abril和Banderas出演的主角对手戏逼真无比。
