Wonder Wheel

It's a shame that this latest Woody Allen film got such a poor reception as I think that it has much more to offer than reviewers would have you believe.
Whilst I hold my hands up to my love of all his films, I do acknowledge that yes, this isn't his best work. But if I can be this creative in my 80's, I'll be more than happy. Many 80 year olds don't remember what they had for breakfast, let alone create, write, produce and direct a feature film! Allen continues his collaboration with Amazon Studios after the quite superb Crisis in Six Scenes mini-series in 2016. In that work, Allen drew out the talents of Miley Cyrus and she performed the radical beautifully. This time, he's focused on the ability of the very experienced Kate Winslet as his leading lady and Boy Band flop-cum-actor Justin Timberlake.

The story, in usual Allen fashion, is an observation of relationships between people and how, by poor choices made by many of them, chaos ensues! Ginny is married to Humpty but is having an affair with local lifeguard Mickey. She has a small son (from a previous marriage to a jazz drummer, when she was trying to be an actress) who sets fire to things for fun. Humpty has a daughter from a previous marriage who turns up out of the blue after five years, having fallen foul of her gangster husband. Initially distraught by the previous let down, Humpty then welcomes and protects her prioritising her over all else. She, Carolina, by chance, hooks up with her dad's wife's lover lifeguard who's thinking that he'd rather be with a younger girl than the older Ginny. Ginny finds out of course, can't say anything, and heads into downward spiral as she can only watch the mayhem getting irrational, madder and madder! The price of desire, love, lust, and deceit becomes depression, alcoholism and unhappiness. Unless - there's a way out! Hope you're keeping up!

As you can see, it's a right mix-up! The set is Coney Island in the 1950's where the family live in an apartment on the fairground, an unused previous attraction! When he's not fishing or gambling, husband works maintaining the rides in the fair and wife's a waitress in the cafe. They are making ends meet, just, when the daughter turns up and becomes a financial burden, unfairly in Ginny's eyes. She wants what money they have for psychiatry for her son, not keeping his daughter from being murdered by the mob, who she's grassed up and is on the run from!

Kate Winslet (Titanic, Contagion, Quills) plays Ginny, who holds it all in her hands. She does this superbly well as an actress leading the cast, if not as a character! This doesn't stretch her at all really - the closest she gets to that is when she's with Mickey and he's clearly getting interested in Humpty's daughter. As the tension grows, the closer she gets to performing as we know she can. Mickey is played by child-star Justin Timberlake (The Social Network, Friends with Benefits) and also provides as the ad-hoc narrator doing the fourth-wall thing which Allen loves to use. He does alright in this light role, but I don't really see a great actor in him yet.

St Trinian's girl Juno Temple (The Other Boleyn Girl, Atonement) plays Carolina and I think is underused by Allen in the storyline in lieu of Winslet's screen-time. I would like to have seen her character develop more and as an actress she looks like she has much more to give. She does a good enough job for the time she has but hopefully Allen will give her a more meaty role next time out.

John's brother (I bet he hates that!) Jim Belushi (Twin Peaks, Red Heat) takes the other leading role as the vest-wearing slob husband with tendencies towards booze and violence which Allen writes in perfectly. Where there's a working class troglodyte family involved, there's always one of these characters and Belushi carries it off formulaically. The only other main player is the pyromaniac brat Richie and he doesn't really have any dialogue much, so could have been pretty much played by anyone his age.

This is not really a comedy, though there are comic bits in it via observational stuff. It's not been written as a string of one-liners, which we know Allen can also do, but as a drama with a dark edge, a comic edge, an emotional undertone and as a vehicle for a glimpse into 1950's New York at the beach, which is clearly a reflection of his own experience. The sets are impeccably put together, the costume and design spot on and the atmosphere of that setting and time is beautifully created by all the above and excellent direction and camerawork. As usual, the soundtrack and tunes are well chosen with a leaning towards swing, big band and jazz.

As I said at the outset, this is far from Woody Allen's greatest moment, but it certainly is interesting and a drama well worth seeing if not for anything else, then the muted performance of Winslet. Even muted, she executes a commanding performance. Highly recommended.

Magic in the Moonlight

I always approach Woody Allen films without Woody Allen acting in them with an air of caution, expecting them to be not really as enjoyable as if he were present in front of the camera. I guess I'll have to get used to it now, however, as he declares himself the wrong age to carry off the roles.

Be not disheartened though, as he usually provides us with a finely honed replacement to read his lines. 'Celebrity' offered us Kenneth Branagh, method-acted to clinical perfection, 'You Will Meet a Tall Dark Stranger' gave us Josh Brolin and so on. Various actors have carried it off to different degrees of success but none so beautifully as Larry David in 'Whatever Works'. He was made for the neurotic, disillusioned, paranoid, sceptical Woody role!

Here, we're offered Colin Firth. Straight from the posh Brit act camp populated by the likes of Hugh Grant, Jude Law et al. I hadn't realised until now quite just how spookily 'John Cleese/Michael Palin' Firth is. They just have to be related! I do think that we have now moved away from the 'emulation' model now and into an area where these actors are encouraged to, well, maybe not be quite so 'Woody'!

So the usual complex Woody tale of love triangle, class struggle, life lessons and complicated human relationships ensues with the backdrop once again being centred in or around showbiz, theatre and performance. Here again (remember Scoop in 2006?), a magician is centre-stage in 1920's Berlin and this time is whisked off to the South of France via London to expose an alleged fraudster making her fortune from being a Medium to those with money. Our scientific hero, who believes in nothing that isn't in front of his nose and provable heads off with glee to uncover the scam.

The Medium is charmingly played by Emma Stone and provides the 'across the pond' angle that Woody always injects, placing Yanks with Brits together in front of the lens. And so the challenge begins, racing through the story with the usual sharp wit, one-liners and engaging dialogue. An enjoyable yarn, well executed, and although Firth still feels pretty much in the typecast posh Brit role again, his performance is enjoyable and one which is warmed to.

The set, 1920's European theatreland, restaurants and monied domestic settings, is beautifully atmospheric and the photography executed with the usual interesting use of broad panning (especially in France) with some lovely shallow focus long shots in crowds, the camerawork aiding the growing atmosphere.

You'll either love Allen's product delivery or hate it, I guess. Fortunately I'm in the former camp and enjoy every minute. I can't think of a Woody Allen film that I have not enjoyed and this adds to the very long list. At 80, he's been conjuring up a film a year for almost 50 years, which really is some feat. I will be keen to see the more recent releases, 'Irrational Man' and 'Cafe Society', to keep me up to date. But for now, 'Magic in the Moonlight' is highly recommended.

Scoop

Yes, I know. It's another Woody Allen crime comedy. But they're just such fun!

And in this one, Allen expertly casts Scarlett Johansson (for a second time, following Match Point) in the overenthusiastic role of a wide-eyed girl chasing an ideal, previously filled by Diane Keaton in Manhattan Murder Mystery, Love and Death and others, as they combine perfectly in a near-formulaic manner.

The two leads play off each other beautifully and as Allen feeds her with quips and one liners aplenty she's given the scope to throw back the banter, resulting in a comedy duo act that feels well polished and is a delight to watch.

The plot is complicated, as usual, but fluffy, and involves Allen playing around with life, love, crime, death, the afterlife and distaste. Allen plays a magician playing a London theatre and Johansson a student journalist visiting, a recently deceased journalist appearing from the grave with a Scoop of a story regarding murder and a privileged British family which needs infiltrating. All the strings are pulled together in a did-he-didn't-he chase orchestrated within a wrapper of fun and games, but more importantly, the super chemistry between the leads.

It's a gorgeous film which delights. By this stage Allen is getting on a bit and he sometimes appears to stumble, but it's smartly wrapped into the act of the ageing magician. And seeing him driving a Smart Car on the wrong side of the road is a gem!

Highly recommended.

Cafe Society

Woody Allen's 46th film at the age of 80 rolls out for us all to enjoy. Critics of his work might suggest that they're all the same, follow similar themes, that it's become formulaic, but if the viewer takes each film in isolation, there's so much to admire and enjoy in the ways in which Allen creates a story, executes it on-screen and picks just the right cast to make the most of the 90 minutes or so of our lives. I always prefer to see Allen acting in his films, but, as I've said before, maybe he's wisely stepping down from that. In fact, through his narration you can hear that he's becoming an old man, but kudos to him for his relentless wonderful storytelling.

Café Society is a film about a Jewish chap, of course, from New York, of course, who heads for bright lights, glitz and glamour of 1930's Hollywood to try and carve out an interesting path and life for himself. His uncle is a big-shot agent to the stars there and our hero, Bobby, is shuffled his way by his overpowering mum, beautifully played by Jeannie Berlin and long-suffering dad, by Ken Stott (Fortitude, The Missing, The Hobbit) to carve a niche for their son. Bobby is depicted by Jesse Eisenberg (The Social Network, To Rome with Love, The Social Network) and plays the part of the under-trodden but thinking, philosophical and innocent lead perfectly.

When he arrives, he falls for the young and spunky Vonnie played by Kristen Stewart (Still Alice, Twilight) who in turn falls for him, but the situation is complicated as she's having an affair with a married man. The leading lady plays it beautifully and could so easily be Mia Farrow, Diane Keaton, Emma Stone, Scarlett Johansson or any one of the people in Allen's backlog of actors fulfilling this sharp and interesting female role. Allen has a way of squeezing the very best, interesting performances out of actors within whom's eyes he sees a twinkle and Stewart can happily be added to the list of people who have triumphed. As you'd expect, things get complicated as the comic love story cum tragedy heads to wards a climax back in New York, but as usual, all the strings are pulled together nicely.

Woody Allen just can't leave Casablanca alone! As Bobby becomes a night club owner/bonhomme, he could just as easily be the confident big-fish-in-little-pond white-suit-clad Rick and the way in which the story unfolds at the end, he provides so many nods to the great work of Bogart/Bergman which we know Allen loves so much. But this is also a commentary about the golden age of film and cinema, jazz music, glitz, glamour and social behaviours of the rich and famous of the day - and how the menials around them flocked to try for a slice of the pie. The ambitious young people trying to make a name and break into film. Those who just want to hang around with famous people. But it's also a film which depicts the shallow and short-lived nature that fame and fortune brings, along with philosophical views about human beings, the universe and what's important in life.

The music is thoroughly engaging, depicting the era, the direction is perfect, the use of sepia to add atmosphere depicting the age and era is executed beautifully, without being overpowering and the sets, costume and attention to detail leave no stone unturned. It's a delightful comedy/tragedy to engage with but it's also a sad reality snapshot about a time, people, fame and meaning. Highly recommended.

Blue Jasmine

Beware that this film jumps back and forwards in timeline with little or no warning, so stay on your toes! It starts in the present where Jasmine, played by Cate Blanchett, arrives in San Francisco to spend some time with her sister. Jasmine portrays the image of a wealthy socialite from New York, expecting everyone around her to fall over themselves to facilitate her every whim, having been used to all the shallow trappings which plenty of money will bring. But therein lies the twist.

Jasmine has been the victim of circumstance, doesn't have a penny to her name and is reaching out to her previously ignored sister, who lives within an entirely different social class and from one pay packet to the next. She lives in a rundown apartment and appears to have made misguided choices about men in her life and how to navigate her way through survival towards happiness.

The two women try to tolerate each other and indeed the situation in which they find themselves. The story unfolds to reveal much about their backgrounds and circumstances which have brought them to this place and time. The film is not only about human nature and the different, but just as troublesome, trappings of varied social class, but also about mental health issues and how the suffering which, however it came about, can be exacerbated and rejuvenated by circumstance, to some degree beyond one's control.

This is an unusual Allen film. It moves a little away from an out and out comedy and towards a real life drama about people finding their way through life's complications, with comedy thrown in here and there. His stories are always character rich, however, and each one brings something interesting to the proceedings. Cate Blanchett is perfectly cast. The viewer wants to shake all that stuck up posh snobbery and money-generated behaviour out her. She's immensely unlikable, though as things develop and the background comes to light, even though she doesn't help herself much we also move towards sympathy and understanding. The final scene of the film is indeed heart-wrenching to watch.

Blanchett has the lion's share of the screen-time and is suitably supported mainly by her on-screen sister, Ginger, played by Sally Hawkins. Alec Baldwin plays the ex-husband, but barely has anything to do. Peter Saarsgard plays Jasmine's boyfriend, Dwight, and Bobby Canavale, Ginger's Chili. But this is a film centred very firmly around Jasmine and her difficulties. As I say, it's a little off the beaten track for a Woody Allen film, but worth the viewing. It's far from his best work but, at 80 years old and his 45th directorial outing here, not every one can be better than the last. Recommended.

Anything Else

A Broken Clock is Right Twice a Day
Once again, Woody Allen has (almost) handed out his leading role to another male, taking up his mantle as the neurotic, self-obsessed New York writer, but not quite, as he leaves himself in the cast as well, acting as the latter's mentor and colleague. It's the usual bitter/sweet dark comedy which Allen does so well, enabling this reviewer to laugh out loud often, that becoming a rarity for me. It's a tale of relationships, discontentment, modern values, freedom and the meaningless of existence in time and place in the universe!

Coming from a background of those awful American Pie films, Jason Biggs plays (new Woody) Jerry. He and Dobel, Woody's character, are unsuccessful comedy script writers and hang out in Central Park, chewing the cud and batting about thoughts and philosophy. Jerry is living with Amanda, played by Christina Ricci. How Allen has made the runt-faced acid-drop from the Addams Family films into a hot and sexy little thing, only he knows! And she's a surprisingly good actor, oozing confidence as she did in Ally McBeal. She has to play a neurotic, hypochondriacal, free-spirited, unemployed actress/singer who can't commit fully to the relationship with Jerry. She wants an open relationship but his commitment, denying him sex but getting her own elsewhere. She wants her cake and to eat it.

Jason Biggs does alright and Allen shares the delivery of his repertoire of one-liners with him. He's not riveting or show-stealing, but maybe that was the idea. The leading lady is certainly the star of the show and there are bit parts for others including Danny DeVito as the Agent, who really isn't very funny at all, Stockard Channing who pops up as Paula, Amanda's hippy mum (remember Rizzo in Grease?!) and in keeping with Allen's love of Jazz, Diana Krall tinkles the ivories for us.

Allen plays the buffoon whilst leading the narration but allows Biggs to do the Fourth Wall thing regularly, a technique that I love to see done well, like here. The photography and direction are quite brilliant and I love the rejuvenation of split-screen and the technique which Allen often uses, if it has a name, of leaving the camera shooting an empty room whilst the actors walk off and hold audio dialogue out of shot. It's stylish and interesting.

As usual with Wood Allen stuff, you either love it or hate it and those visiting here with any regularity will know that I fall into the former. There are very few films that I go back to and watch time and again, but there's so much packed into his that it's great value and super entertainment. But your mileage may vary! Highly recommended.