Woody Allen

Hit-or-Miss Mastermind Woody Allen Recaptures Genius With Eccentric ‘Vicky Cristina Barcelona’

HollywoodChicago.com — Thu, 14 Aug 2008 23:01:00 -0600

Rating: 4.0/5.0

CHICAGO – While legendary writer and director Woody Allen can’t always be equated with sheer genius these days and is more accurately described as a hit-or-miss proposition, the sorely undermarketed and film-festival touring “Vicky Cristina Barcelona” serves as unquestionable retribution for his recently questionable work.

The film, which stars Hollywood sensations Javier Bardem, Scarlett Johansson and Penélope Cruz, all throughout makes you feel like Allen’s script has something brilliant up its artistic sleeve. While at times you’ll easily predict when sex is on deck, Allen uses “No Country for Old Men” star Javier Bardem literally as his blunt instrument.

Penélope Cruz stars as María Elena in “Vicky Cristina Barcelona” from director Woody Allen.
Photo credit: Victor Bello, The Weinstein Company

In the real world, of course, even a man of his charisma couldn’t walk up to a woman with Scarlett Johansson’s magnetism and lure her into a weekend of bliss and eroticism with these simple words: “We’re getting on my plane in an hour for a weekend of drinking fine wine and making love.”

While Bardem can this time because Allen’s script makes Johansson’s risqué character do it, his true treat is scoring a triple play by convincing Johansson’s rule-driven friend – played by the relatively unknown Rebecca Hall – to seek the same interesting slice of life.

Hall’s character is completely out of character in going along with this ride and is in the process of marrying a man who feels to her much like a sedative.

Javier Bardem (left center) and Scarlett Johansson (right center) star in Woody Allen’s “Vicky Cristina Barcelona”.
Photo credit: Victor Bello, The Weinstein Company

Amid all the wining and dining, Bardem displays his range as an actor. He puts out of our mind his powerfully villainous character in “No Country for Old Men” and completely transforms himself for Allen’s creation into an artistic, charismatic and confident Spanish lover.

The protagonists, of course, wouldn’t be complete without the antagonistic presence of Penélope Cruz. Despite training rigorously with a teacher and a paintbrush for her painting scenes, though, Cruz still admits to having “faked” these scenes.

In fact, Cruz says in real life she’s a “terrible artist” and is nothing like her “Vicky Cristina Barcelona” character. While she gets by with the brush in the film, it’s not her painting that ultimately slathers herself memorably onto you.

Left to right on set: Javier Bardem, Penelope Cruz, Scarlett Johansson and Woody Allen for “Vicky Cristina Barcelona”.
Photo credit: Victor Bello, The Weinstein Company

It’s her irate, suicidal and jealous performance that stands out with its emotional and physical carnage. Cruz landed the role of María Elena from director Woody Allen in 40 seconds flat.

Scarlett Johansson’s appearance in the latest Allen work of art is especially his personal joy. Despite appearing in three Allen films in the past three years (“Match Point” in 2005, “Scoop” in 2006 and “Vicky Cristina Barcelona” in 2008), Johansson decisively denies being his latest “muse”.

When the subject has come up repeatedly in press junkets for the film, she always says they take pleasure in “having fun” together. The 72-year-old Allen, on the other hand, liberally confesses that the 23-year-old “Lost in Translation” star has often been the muse for many of his latest films.

RELATED IMAGE GALLERY
View our full, high-resolution “Vicky Cristina Barcelona” image gallery.

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More film reviews from critic Adam Fendelman.

Johansson follows in the shadows of actresses and former Allen lovers Diane Keaton and Mia Farrow. Instead of it being Johansson in 2005’s “Match Point,” Allen initially selected British star Kate Winslet.

While Winslet may have gone on to muse Allen thereafter, she pulled out from the 2005 film to spend more time with her children.

Despite its interesting backstory and compelling film story, the whole work of art that is “Vicky Cristina Barcelona” goes somewhat to poop in its anti-climatic ending. You can feel Allen struggling with how to end this fascinating journey. His decision to waiver somewhere in the grey matter of life is a tragically unfulfilling choice.

Had the ending been rewritten, “Vicky Christina Barcelona” would be one of Allen’s finest works without question. Even without the rewrite, though, it stands as one Allen magnum opus nonetheless.

“Vicky Cristina Barcelona,” which is written and directed by Woody Allen and stars Javier Bardem, Scarlett Johansson, Penélope Cruz, Rebecca Hall, Patricia Clarkson and Chris Messina, opens on Aug. 15, 2008.

By ADAM FENDELMAN
Editor-in-Chief
HollywoodChicago.com
adam@hollywoodchicago.com

Akin to ‘Match Point,’ Woody Allen’s ‘Cassandra’s Dream’ Expressly Hitchcockian

HollywoodChicago.com — Fri, 18 Jan 2008 11:35:06 -0700

CHICAGO – Woody Allen – the most prolific American writer/director of the last quarter century – has a desire for a particular expression in this last part of his epic career.

For the “lion in winter” phase, Allen is exploring topics of morality and behavior that are directly connected to the deadly sins. “Cassandra’s Dream” – Allen’s third film in a row set in London – this time shines a light on the struggling middle class and the desperate nature of having to rely on outside wealth to compensate their lifestyle.

Ewan McGregor for “Cassandra’s Dream” on Sept. 11, 2007.
Photo credit: WireImage.com

Colin Ferrell and Ewan McGregor portray brothers Terry and Ian: blood relatives who dream of a more upscale life.

Trapped in menial jobs, they each struggle to tamper their damaging habits. Terry has a problem gambling addiction and Ian obsesses over a business deal that might bring him success.

The situation is further complicated when Ian falls in love with Kate (Sally Hawkins): a beautiful actress whose desire to move up in the world is as strong as the brother’s.

When a wealthy uncle (Tom Wilkinson) offers Terry and Ian everything they want in exchange for a “job” they must do for him, the line that is crossed changes both lives and plunges the closely bonded brothers into a moral dilemma that alters everything around them.

Woody Allen for “Cassandra’s Dream”
on Sept. 2, 2007.
Photo credit: WireImage.com

Like Allen’s previous film “Match Point” in 2005, which has a similar subject, “Cassandra’s Dream” explores the human frailties within the abject desire to be wealthy and successful. While it is the fear of losing out that propels each of the crimes in the two films, the consequences and vulnerabilities that are exposed belie a deeper loss of humanity.

Allen’s style here is expressly Hitchcockian. The tensions mounted and the ability of the narrative to focus on particular elements that end up meaning nothing (which Alfred Hitchcock called the “MacGuffin”) put this film in league with the master of suspense.

With Allen exploring deeper psychological ramifications within the moral transgressions, there is more opportunity for self-inflicted punishment.

Allen’s choice of actors gets instinctually stronger as he appears less in his own films. Ferrell is spot on as Terry and has all tics and bad habits intact. He embodies a middle-class garage mechanic in love with his loyal girlfriend and his family. He is a flawed black sleep – but a moral one – with a clear perspective on right and wrong.

Sally Hawkins is a revelation in her first major role as the actress Kate – looking ironically like a more beautiful Kate Beckinsale (if that is possible) – but with a strength in characterization that is both subtle and chilled.

The similarity to “Match Point” is the main weakness of “Cassandra’s Dream”. While there is a feeling of déjà vu in viewing both stories, there is enough understated differences to create a distinctive landscape or at the very least a strong variation on the same theme. For Woody Allen, even mental masturbation is filmmaking for someone he loves.

“Cassandra’s Dream” opened on Jan. 18, 2008.

Click here for our full “Cassandra’s Dream” image gallery!

By PATRICK McDONALD
Staff Writer
HollywoodChicago.com
pat@hollywoodchicago.com

In ‘Gone Baby Gone’ Directorial Debut, Ben Affleck Matures Into Polished Auteur

HollywoodChicago.com — Fri, 19 Oct 2007 13:01:23 -0600

CHICAGO – It wasn’t that long ago when Ben Affleck was an unknown. Fortune eventually smiled upon him and along came quality performances in independents and an Academy Award for screenwriting.

Ben Affleck (left) and brother Casey Affleck on Oct. 10, 2007 at the
Chicago International Film Festival premiere of “Gone Baby Gone”.
Photo by Adam Fendelman of HollywoodChicago.com
Then came “Armageddon,” “Pearl Harbor” and a series of nauseating tabloid stories involving something called “Bennifer”. Affleck’s public image as either a true filmmaker or a hack is riding heavily on his directorial debut of “Gone Baby Gone”.

Without fail, he falls easily into the category of true talent. Following the path that fellow actor-turned-director Clint Eastwood did with “Mystic River,” Affleck elevated a crime thriller by author Dennis Lehane to the big screen.

Unlike directors and actors like Eastwood, Spike Lee, Woody Allen and even close friend Kevin Smith, Affleck resided solely behind the camera and instead cast brother Casey Affleck in the film’s principal role.

Casey Affleck in “Gone Baby Gone”.
Photo courtesy of IMDb
Most people will watch “Gone Baby Gone” to see if Ben Affleck is capable in the director’s chair. Moreover, he declares his rightful place as an auteur with his own artistic vision and storytelling ability.

Simplifying the complex maze of corruption that is Lehane’s fourth novel in a series on Boston detectives, “Gone Baby Gone” follows Patrick Kenzie’s (Casey Affleck) private investigation into the disappearance of an adorable, 4-year-old girl from a white-trash addict (Amy Ryan).

She won’t be winning the mother-of-the-year award any time soon. Kenzie gets cooperation from the Boston Police Department and plays an outsider who only can rely on help from his partner and girlfriend (played remarkably by Michelle Monaghan).

As Lehane’s characters are adapted beautifully for the screen by Ben Affleck and co-writer Aaron Stockard, there are bottomless depths of emotional turmoil to every person in this picture.

Ben Affleck directing “Gone Baby Gone”.
The loss of an innocent girl and Ryan’s portrayal of the crackhead mom you both love and hate make you want to throw things at the screen for such despicable human behavior. Ed Harris plays a local detective and masterfully devours all of his scenes.

Morgan Freeman plays the chief of police just like you think Morgan Freeman would play a police chief.

More than just showing promise, Affleck’s directorial debut promises great things for his future as a filmmaker. More than just your typical detective mystery flick, the film leaves many unanswered ethical questions.

More than so “Mystic River,” “Gone Baby Gone” is a heart-wrenching thriller of people you love to watch but would never want to meet in real life.

By DUSTIN LEVELL
Senior Staff Writer
HollywoodChicago.com
dustin@hollywoodchicago.com