Hollywood Ending

Some of the one liners here are so hysterical, you will think about them long after the movie ends and still roar. This is a very funny movie and plays right into the audience expectation Allen is mocking in his script. After the war in Iraq, Woody's comment about "Thank God the French exist" is even more amusing than when he first wrote it. Yes Thank God for the French, they've made some funny movies too. And Thank God for people like Woody Allen. The world needs him. I love how his running trademark showing him with younger women still continues to upset certain members of both the public and critical elite. I think at his age, Allen can pretty much do and write what he wants. Personally, I enjoy the fantasy; it's a sly little dig against the morals of American culture, especially in the Ashcroft/Bush JR era. Older men and younger women have been around forever, and Woody definitely isnt the only one experiencing this condition, so get over yourselves, uptighters, and learn to laugh at life. The dumbing down of society (referred to often in the screenplay) is highly evident after the negative reactions this has received. It's only a movie; it's not the end of the world. You either get it or you don't.

Did your mother ever tell you that it wasn't polite to make fun of blind people? Well, apparently, Woody Allen's mother didn't, since this is exactly what he does for a good hour or more in his latest film, `Hollywood Ending.' (Or, perhaps, he just doesn't WANT to be polite). Whatever the case, Allen himself stars as Val Waxman, a once brilliant film director who has fallen on hard times, partly due to his own temperamental nature and partly to his own tendency for obsessive/compulsive behavior and chronic hypochondria, all of which have made him anathema to Hollywood's major producers. Tea Leoni plays Val's ex-wife, Ellie, who convinces her current fiancé, studio boss Hal (played by Treat Williams), to take a chance on Val and turn a multimillion dollar film project over to the iconoclastic director. All is going well until, right on the eve of production, Val develops a case of psychosomatic blindness, a condition he and a few close allies try to keep a secret during the making of the film. The majority of `Hollywood Ending' revolves around Val's attempts to keep people from finding out the truth and delivering a creditable motion picture to the studio heads at the same time.

In many ways, this pallid comedy combines the slapstick elements of Allen's early works (`Bananas' and `Sleeper') with the cynicism of his later, more mature explorations of modern urban romantic life (`Annie Hall,' `Manhattan'). Unfortunately, `Hollywood Ending' winds up as an uneasy hybrid of the two forms, mixing lowbrow comic mugging and pratfalls with the customary angst-ridden dithering that Allen has been indulging in (often quite effectively) for well nigh a quarter of a century now. Well, the bloom is definitely off the rose here. Part of the problem is that Allen's neurotic tics are amusing only when he has some serious points to make under all the humor. In this film, however, he is providing no insights to go along with the chatter so that he comes across as whiney and self-absorbed rather than witty and ironical. Val always seems to be blathering a mile a minute, so much so that we finally just want him to shut up and give us a moment's silence. To make matters worse, the scenes of broad physical comedy – Allen bumping into furniture, Allen breaking glasses, Allen falling off platforms – are not particularly well executed, lacking the kind of adept, split second timing essential to make such scenes comically effective. Thus, the film fails on two levels: both as a work of slapstick and as a verbal comedy of ideas. The film could, potentially, have scored as an acerbic satire on the ludicrous commercial values that define the American film industry, yet even most of these `inside' jokes seem strangely unoriginal and old hat, especially coming from a man as attuned to the industry as Woody Allen.

Although Allen, in his old age, has degenerated into little more than a wan parody of himself, Tea Leoni sparkles as Ellie, creating a character who is simultaneously strong, sensible, insecure and vulnerable. Leoni's performance is, literally, the anchor that keeps this otherwise lighter-than-air trifle from floating away completely. Barney Cheng does a nice job playing a Chinese translator whom Val uses to help him carry off this impossible charade; Mark Rydell provides some memorable moments as Val's helpful agent; and Debra Messing glows as Val's beautiful but bubble headed `significant other,' who is far more concerned about losing her part in the movie than losing her role as bedmate to the neurotic director.

It would be unfair, as well as untruthful, to say that `Hollywood Ending' did not afford a couple of pretty impressive laughs along the way. This IS a Woody Allen film, after all. And even Woody on a bad day is better than many of our Hollywood humorists on a good day. But with so many great films in his oeuvre, one naturally goes into this film with high expectations. When a final assessment is made of all of Allen's prodigious cinematic output, `Hollywood Ending' will wind up somewhere very near the bottom of the list.

I admit to being a big Woody Allen fan; when I was in college, I went to a Woody Allen movie - Play it Again, Sam - and all around me, people were laughing like hyenas. I had no idea what was funny. Now I don't know how I ever thought that.

"Hollywood Ending" is a 2002 film from the prolific Allen, and he gives it to Hollywood but good. He plays a neurotic, hypochondriacal film director named Val who can't get arrested thanks to being so difficult. But in a conference about a film, The City that Never Sleeps, his ex-wife Ellie (Tea Leoni), in charge of development, is positive that he would be the best man for the job. She is shot down by everyone, including her current producer boyfriend Yeager (Treat Williams) but she manages to convince him to at least meet with Val.

Val loathes Yeager and he doesn't want to have anything to do with him or Ellie but he's just come home from a Canadian winter shoot for a deodorant commercial, from which he was fired, and he's desperate. His long-suffering agent Al (Mark Rydell) gets him the deal, and Val is hired.

The night before the shoot, Val calls Al, in the middle of a Seder, and demands he come over. He's blind. Al gets him to a doctor but there's nothing wrong with Val's eyes. He can't lose the job, so Al goes with him to the set, but is thrown out by Ed (George Hamilton). Al suggests that he find a confidant who can see him through the film. Since Val has demanded a Chinese cameraman who doesn't speak English, the translator needs to be around, so he helps Val out. But Val is going to need a lot more help than the translator.

I found the premise and the whole movie quite funny, with some great dialogue and good acting from everyone, including Debra Messing, who plays Val's current bimbo girlfriend, whom he casts in the film.

The movie would have been better if Allen had actually attempted to cover up the fact that Val is blind rather than acting just like a blind man. The fact that no one noticed is ridiculous. When someone speaks to him, he looks the opposite way, and he stares straight ahead, and he needs help walking.

All in all, I really enjoyed it. It's not his best; it's not his worst. Some very funny scenes and filled with wit.

For Woody Allen fans - this is one of the last ones with him acting so it is worth a watch. Unfortunately it's one of his weaker pictures. There are some laugh out loud moments esp his scene with Tea Leoni in the bar. The hypochondria isn't that funny. The main premise is interesting psychosomatic blindness but wears thin after a while. The supporting cast is not well utilized. Everyone is made to talk in that Woody Allen way. Tiffany Thiessen has such a small part. George Hamilton just a few lines. The Chinese cameraman and interpreter are quite funny at first. But overall it still is worth a watch for the pleasant neat storyline and the laughs in between. Just isn't that funny after all.

I liked when Woody Allen went back to comedy and starred in his own films again during this period. He started showing his age in the 00's, but in this film he's still a lot of fun and capable of being a physical comic. It's a story about a real down on his luck has-been of a director (Allen) who's so desperate that he's reduced to filming commercials in Canada. So he has no choice but to accept an offer to direct a big movie that could put him back on top - the problem is, the two producers are his ex-wife (Tea Leoni) and her new fiancé who stole her from Allen (Treat Williams). Right before production all the stress gets to Woody and he experiences psychosomatic blindness and has to direct the whole movie without being able to see. He can't blow this important opportunity and has to fake his way through without letting anyone but his trustworthy agent and his Asian cameraman's interpreter know what's happening.

This is a sure-fire recipe for laughs, and it mostly delivers. Tea Leoni is perfect for the role of Woody's long-suffering ex who's stuck working with him again under such touchy circumstances. I also enjoy Mark Rydell as his dedicated agent and mentor. Debra Messing plays another in a long line of ditzy young girlfriends who can't seem to resist shacking up with the 66-year-old Allen. The one flaw is that the movie goes on a tad long, and maybe the gag wears thin by the home stretch. *** out of ****