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Woody
Allen reflects on his Bergman stage with this
cunning and metrosexual modern drama that mixes
in some touches of Hitchcock and humor to lighten
up his usual dour dramatic stories. Set in London
and full of sexy and handsome actors, Allen
seems fresh and new. It doesn't hurt that he
also sits behind the camera and doesn't feel
the need to inject himself into his youthful
cast. The result is a Woody film that doesn't
seem like a Woody film and that in itself is
a breath of fresh air.
There is little doubt that Jonathan Rhys-Meyers
and Scarlett Johansson are two of the most beautiful
and erotic actors working in films today. In
"Match Point" they practically combust on the
screen, their chemistry is so intense. While
there is an occasional misstep or forced moment
between them, usually in their dialogue or their
delivery of it, their characters are for the
most part as interesting as their facades. Adding
young hotties like Emily Mortimer (who does
an excellent job of looking just dowdy enough
to be considered plain among the other stars)
and Matthew Goode (who could be Rupert Everett's
dashing young brother) just makes the film more
steamy and amps up the metrosexuality factor
to "11."
Allen's film is simply gorgeous. The pacing
is perfect and the cinematography by Remi Adefarisin
highlights the lush interiors and majestic exteriors
perfectly. The differences in wealth between
the upper middle class and the lower middle
class is very important to Allen's plot and
Adefarisin's slow moving camera, focusing on
the opulence of many of the interiors is simply
stunning.
Without a doubt, "Match Point" is Allen's best
film since "Sweet and Lowdown" in 1999. His
script is his best since then as well. Allen
seems to hit a high point every four or five
years and this film is certainly his most important
work in his post-millennium career. Allen became
so enamored with Johansson and shooting in London
that his next film, "Scoop" features the actress
in a script that, from the little that has been
exposed about it, sounds very similar to this
work. It sure would be amazing to see the filmmaker,
who turned 70 in 2005, enter a phase of his
career that is as vibrant, interesting and valid
as his work in the past.
Notes:
Also with Brian Cox, Penelope Wilton, Ewen Bremner
and James Nesbitt.
The film uses classic opera pieces by Bizet,
Verdi and others. Many of these are sang by
Enrico Caruso. A snippet of Andrew Lloyd Webber's
"I Believe in My Heart" from "The Woman in White"
is used almost comically and while the musical
is mentioned, its creator, while referred to
somewhat disparagingly, is not mentioned by
name.
The film was nominated for several Golden Globes.
The script was nominated for an Oscar.
At 124 minutes, this is Allen's longest film
to date.
The script was originally set in the Hamptons
but was changed when Allen decided to shoot
in England.
Kate Winslet was to play the role that went
to Johansson but dropped out before filming
began.
The film premiered out of competition at Cannes
in 2005. A Oscar qualifying run began at the
end of December in NYC and L.A. and the film
opened wider in January 2006.
Viewed in Austin at the Alamo Drafthouse on
South Lamar in February of 2006 with my friend
Johnny Oh on his birthday.
Report Card
Script:
A-
Acting:
A-
Cinematography\Lighting:
A+
Special Effects\Make Up: A+
Music:
A
Final
Grade: A-
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