Every Wednesday, FM writers Simon Columb and Brogan Morris write two short reviews on Woody Allen films ... in the hope of watching all his films over the course of roughly 49 weeks. If you have been watching Woody's films and want to join in, feel free to comment with short reviews yourself! Next up is Mighty Aphrodite and Vicky Cristina Barcelona...
![Mighty Aphrodite]( "Mighty Aphrodite")
Simon Columb on Mighty Aphrodite...
There is a point in the Woody Allen filmography whereby his front-and-centre roles seem at odds with the story. 1995’s Mighty Aphrodite may be the moment he crosses the line. Interspersed with a Greek chorus, Mighty Aphrodite begins as sportswriter Lenny (Allen) becomes obsessed with finding the mother of his genius, adopted child. Co-starring Helena Bonham-Carter as Lenny’s career-driven wife and Mira Sorvino (winning an Oscar for her role) as prostitute Linda, the aforementioned mother, this should be amongst Woody’s best but it becomes a quiet horn compared to his orchestra of films. The symmetrical outcome of relationships does somehow ring a classical tune creating an inversed Greek tragedy of sorts. But Woody does seem out of place; jarring against the backdrop of younger actors that dominate the screen. His relationship with considerably-younger Linda combined with an adopted-child story seems strangely, unsettlingly poignant – but isn’t that why we love Woody?
Simon Columb
![Vicky Christina Barcelona]( "Vicky Christina Barcelona")
Brogan Morris on Vicky Cristina Barcelona...
Woody Allen films are often showcases for grandstanding performances, especially more-so now, as the director increasingly settles into a default visual styling. And since the director has become a uniquely city-to-city filmmaker – this one, as the title suggests, is his Barcelona movie – the results of those showcases have been distinctly hit and miss. Vicky Cristina Barcelona uses US protagonists – a predictably neurotic female lead (the talented Rebecca Hall, unfairly burdened with a bland central role) and a typically cold, vampish Scarlett Johansson-type played by the typically cold Scarlett Johansson – when its focus should’ve stayed on the fiery pairing of Javier Bardem and Penelope Cruz. The ending is frankly ludicrous, and the central duo (and the story) only heat up when Bardem’s seducer and his nutso ex Cruz come in to make it a foursome, but that section of the film at least offers the best of late-era Woody Allen: two outstanding performances given by two exceptional actors let off the leash.
Brogan Morris - Lover of film, writer of words, pretentious beyond belief. Thinks Scorsese and Kubrick are the kings of cinema, but PT Anderson and David Fincher are the young princes. Follow Brogan on Twitter if you can take shameless self-promotion.
There is a point in the Woody Allen filmography whereby his front-and-centre roles seem at odds with the story. 1995’s Mighty Aphrodite may be the moment he crosses the line. Interspersed with a Greek chorus, Mighty Aphrodite begins as sportswriter Lenny (Allen) becomes obsessed with finding the mother of his genius, adopted child. Co-starring Helena Bonham-Carter as Lenny’s career-driven wife and Mira Sorvino (winning an Oscar for her role) as prostitute Linda, the aforementioned mother, this should be amongst Woody’s best but it becomes a quiet horn compared to his orchestra of films. The symmetrical outcome of relationships does somehow ring a classical tune creating an inversed Greek tragedy of sorts. But Woody does seem out of place; jarring against the backdrop of younger actors that dominate the screen. His relationship with considerably-younger Linda combined with an adopted-child story seems strangely, unsettlingly poignant – but isn’t that why we love Woody?
Simon Columb
Woody Allen films are often showcases for grandstanding performances, especially more-so now, as the director increasingly settles into a default visual styling. And since the director has become a uniquely city-to-city filmmaker – this one, as the title suggests, is his Barcelona movie – the results of those showcases have been distinctly hit and miss. Vicky Cristina Barcelona uses US protagonists – a predictably neurotic female lead (the talented Rebecca Hall, unfairly burdened with a bland central role) and a typically cold, vampish Scarlett Johansson-type played by the typically cold Scarlett Johansson – when its focus should’ve stayed on the fiery pairing of Javier Bardem and Penelope Cruz. The ending is frankly ludicrous, and the central duo (and the story) only heat up when Bardem’s seducer and his nutso ex Cruz come in to make it a foursome, but that section of the film at least offers the best of late-era Woody Allen: two outstanding performances given by two exceptional actors let off the leash.
Brogan Morris - Lover of film, writer of words, pretentious beyond belief. Thinks Scorsese and Kubrick are the kings of cinema, but PT Anderson and David Fincher are the young princes. Follow Brogan on Twitter if you can take shameless self-promotion.