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

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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.

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