PASSION, REVENGE CROSS IN `FLESH'.

Byline: Bob Strauss Daily News Film Critic

Spanish filmmaking delinquent Pedro Almodovar (``Women on the Verge of a Nervous Breakdown,'' ``Tie Me Up! Tie Me Down!'') takes another step toward maturity with his latest movie about misguided passion, ``Live Flesh.''

It's a smart, mildly subversive slice of sexy romanticism and wry enough to be constantly amusing in that naughty Almodovar way. But `Live Flesh,'' which is based on a Ruth Rendell novel, also presents evidence that maturity may not be a quality we want in Almodovar. Though livelier than his last feature, the soap opera-ish ``Flower of My Secret,'' this movie suffers from what might be termed too subtle an approach to outrageousness.

Yes, that sounds like a contradiction in terms, but it's kind of apt for something that's interesting rather than engaging to watch unfold. Though ``Flesh'' is never dull, it does lack the breathtaking zing that the director's older, bolder method of shaking us up provided.

The opening scene is arguably ``Flesh's'' wildest. On New Year's Eve 1970, the Franco dictatorship declares a state of emergency in Madrid, which makes it all but impossible for a pregnant prostitute to get to a hospital. She delivers her baby on an out-of-service bus, resulting in a lifetime free travel pass for her and her new son.

Twenty years later, Spain is much freer and, accordingly, citizens are misbehaving more overtly. The Bus Boy has grown into a needy young man, Victor (Liberto Rabal), who is hopelessly hung up on his first and only sexual conquest, the drug-addicted daughter of an Italian diplomat, Elena (Francesca Neri), who barely remembers their encounter.

Two cops, the violently jealous Sancho (Jose Sancho) and the seemingly upright David (Javier Bardem), get involved in the resulting argument. There's a scuffle, shots ring out, David is paralyzed from the waist down, and Victor ends up spending five years in prison.

When the angry but not necessarily vengeful Victor is released, he vows to become the world's greatest lover and win Elena's heart. This will not be easy, since she's married her hero David, now a world-class wheelchair basketball player and an innovative sexual satisfier in his own right. In pursuit of his goal, Victor takes up with the older, experienced Clara (Angela Molina), who happens to be married to the still-brutal Sancho.

Got all that? It gets much more complicated romantically, criminally and - especially - emotionally. Along the crooked way, Almodovar upends our sympathies. David turns into something far uglier than the shining icon of selfless suffering and recovery he appears to be, while Victor's heart proves truer than his actions, and even the awful Sancho earns some empathy. Meanwhile, the two women spin out in an ever-widening tizzy of emotional confusion.

As with all Almodovar, ``Flesh'' boasts some steamy, intriguing lovemaking sequences. But they don't have the comically perverse charge of the sex in ``Matador,'' ``Law of Desire'' or even the over-the-top and out-of-Earth's-atmosphere ``Kika.'' As ``Live Flesh'' winds inexorably toward a climax bathed in guilt and hot blood, we appreciate the way Almodovar has built up every character's complex motives and conflicting desires. We'd like it a lot more, though, if he had just cooked it all a few degrees weirder.

THE FACTS

The film: ``Live Flesh'' (R; sex, nudity, violence, drug use).

The stars: Javier Bardem, Francesca Neri, Liberto Rabal, Angela Molina, Jose Sancho.

Behind the scenes: Written and directed by Pedro Almodovar, based on Ruth Rendell's novel. Produced by Esther Garcia. Released by Goldwyn Films.

Running time: One hour, 42 minutes.

Playing: Royal, West L.A.

Our rating: Three Stars.

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Photo

Photo: Elena (Francesa Neri) and Victor (Liberto Rabal) draw close to one another in ``Live Flesh,'' a film full of emotional uncertainty.