
| Celebrity |
Admittedly I came late to the Woody Allen bandwagon. I didn't get turned on to his films until I was in college in Boston but I quickly made up for lost time. They were a staple of the revival houses in Cambridge and I often went to see BANANAS and SLEEPER and so on. I'll admit, I didn't "get" ANNIE HALL when I first saw it, but that was before my first real adult relationship. Six months later, when I saw it again, I more than got it. To me, MANHATTAN ranks as one of the great films of the latter-half of this century. Maybe because it also reflects my own love affair with New York City. Over the years, I've gone along with the Woodman, suffering through some of the lesser efforts (anyone remember SEPTEMBER?), marveling at the ingenuity of a ZELIG and basking in the intelligence and skill of a HANNAH AND HER SISTERS. But lately, something has happened. Ever since BULLETS OVER BROADWAY, Woody's lost me. He seems to have run out of things to say and the sight of him romancing younger women has begun to become uncomfortable. I hate to say it, but ever since his split with Mia Farrow he seems to have lost his muse. The films of the last few years have been decidedly minor and often more scatological. Woody Allen has lost his edge. All this is a long-winded introduction to his latest feature CELEBRITY, a discourse on our modern culture and its obsession with fame. Yawn! Sven Nykvist's black-and- white cinematography is okay, but it lacks the depth of contrast that the great Gordon Willis captured in MANHATTAN. There really seems to be no reason for the story not to have been shot in color. And the couple at the center are now so typical of the Allen neurotics that they almost border on cliché. Judy Davis does what she can to breathe life into a role she nailed the first time in HUSBANDS AND WIVES. At least she is not as shrill as she was in DECONSTRUCTING HARRY and she does have an arc to her character who goes from teacher of Chaucer to TV reporter. Other critics have carped about Kenneth Branagh's performance as her ex-husband as he seems to be channeling Woody Allen, down to the stutter and vocal inflections. Actually, Branagh didn't really annoy me, but then I've always had a bit of a soft spot for him. As is typical, there are several outstanding supporting performances in a cast packed with blink and you miss them roles: Patti D'Arbanville nearly unrecognizable in a black wig; the luscious Charlize Theron whose primary job is to look beautiful; Famke Janssen as a book editor who falls for Branagh; Melanie Griffith as a sexy screen siren; and Winona Ryder as a wanna-be actress who also gets involved with Branagh. The best performance in the film, though, is delivered by Leonardo DiCaprio who slyly sends up his contemporaries as a temperamental actor with a penchant for trashing hotel rooms and sleeping with models. DiCaprio is onscreen for maybe 10 minutes but the film comes alive. It's too bad Woody Allen didn't decide to make a film about his character. That would have been a more interesting choice. As it is CELEBRITY says little new about its topic. The jokes for the most part seem stale and overly familiar. Maybe I've spent too many hours watching Allen's films. Maybe I've become jaundiced in my viewpoint. Or maybe Woody needs a collaborator. His best films from ANNIE HALL and MANHATTAN to BULLETS OVER BROADWAY were written with others (Marshall Brickman in the case of the two former films, Douglas McGrath in the latter). That's not to say Allen solo hasn't produced some gems, but they are outweighed by the near misses and outright flops. As I write this, he is already at work on his next film and I can tell you one thing. I'll be there to see it, hoping that that one has more meat than CELEBRITY. Rating: C |
| © 2008 by C. E. Murphy. All Rights Reserved. |