Melinda und Melinda

I thought that this film is right out of the classic Woody Allen mode. His theme of having events determined by others -- in this case, the writers -- was reminiscent of his one-act plays, "God" and "Death," and follows the tracks of the worldview he has always explored in his films. It was very well-written and crafted, an enjoyable night at the flicks.

One thing that struck me is that the character played by Will Ferrell is exactly the part that Woody can no longer play because he's too old. It was not long into the film before I discerned that these are lines that Woody had written for himself, the character he'd always played, but a younger man was delivering them for him. And that only added to the charm of the film for me.

I couldn't wait to see this movie. About half way through the movie, I couldn't wait for it to end. All of the (white) actors were delivering their lines like Woody Allen had just said, "Say it like this..." Then they said their lines on screen like they were trying to imitate Woody Allen. It was so annoying. We all know how Will Ferrell really talks, and he doesn't stumble over his words like Mr. Allen. The comedy portion of this film was just as boring as the tragedy and definitely never funny or even entertaining. I must admit that I have never been a major Woody Allen fan, and this movie definitely has not converted me. I think that his writing was just as bad as his direction. This movie will go down as one of the worst 10 movies I have ever seen.

Woody Allen as a stand-up comedian saw the humor in some of life's injustices. Here he suggests infidelity is one of those injustices. At first glance, this "open" attitude seems at odds with the fact that virtually all Woody Allen films have been love stories (even Bananas!); maybe they're really falling-in-love stories. To dramatize this story, he wisely included Rhadha Mitchell, Chloe Sevigny, and Chiwetel Ejiofor, whose performances were as hypnotic as their names (the others, in lesser roles, were also good). What happens is routine; it's just a set-up to evaluate various ways of reacting to infidelity. Some of the dialog is among the best I've heard. How we react to setbacks can be an important part of our lives (not as important as showing up, of course). Woody Allen's philosophy of life isn't rocket science: when possible, have a good time. And bring a friend.

It's curious how after having been apart for a good many years, Mia Farrow and Woody Allen seem to surface in this movie, playing the central roles. In casting Rhada Mitchell and Will Farrell, the director gives the Mia character to the young Australian actress who has an uncanny resemblance to the young Ms. Farrow, and his alter ego is played by Mr. Ferrell. The best thing Mr. Allen did in this film was to cast someone else to play the role he always gives to himself.

The idea of "Melinda and Melinda" is not bad. However, the situations, even if they are theatrical, at heart, feel fake. The resolutions of the issues in both aspects of the drama, or the comedy, being discussed by some local intellectuals at Pastis, the restaurant, don't produce a logical conclusion. In fact, both stories playing at the same time, have a way of disorienting the viewer.

The casting doesn't help either. Rhada Mitchell, is out of her league playing Melinda. Will Ferrell as Woody Allen, please! The talented Chloe Sevigny and Chiwetel Ejiofor do what they can, but we just don't believe for a moment about their situation, nor do we care what happens to these bunch of pretentious Manhanittes that are one dimensional at best.

This film probably marks the crucial point where Woody Allen takes one step back and lets others take over the Woody persona of a typical Allen film. It's happened before, in Celebrity and Anything Else, but now the lead characters can breathe as themselves without having to essentially 'be Woody'. Sure the resemblances are still there but more in the situations than in the characters. Will Ferrell displays proper comic timing and Jonny Lee Miller tries valiantly with what he's given. The script sparkles with more one-liners than most recent efforts and an appropriate return of the 'lust for life' motif seen in earlier films such as Hannah and Her Sisters or Everyone Says I Love You. If you don't appreciate that comic situations are both sad and full of life, and that tragedy has a fair share of unexpected delights as well as heartache, than you're definitely missing the point. Woody displays both of these in equal quantity spread liberally throughout the film in all situations. And so what if the end plays more like a series of sketches than a full-on film? It's the mark of a master than can make us enjoy what we see regardless of narrative form. 8 out of 10.