Vous allez rencontrer un bel et sombre inconnu

An odd film for Allen, neither an overt comedy or one of his dark serious films (e.g. 'Crimes and Misdemeanors'). This is a 'light' drama, something he hasn't done much. While far from Allen's best work, I felt more warmly towards it than most of the press, especially after a second viewing. Some of the criticisms are valid; the voice over narration feels out of tone with the film, and at times tells us too literally what we already know. Yet, in the current American cinema, how many film-makers are getting to even and try and address the complex subtle questions of grown-up relationships, aging and the fear of death, and the lies we tell ourselves to get through it all? Or deal with the paradox that humans seem to need something to believe in, and yet that same belief can also lead us astray? Or give great older actors like Anthony Hopkins and Gemma Jones really meaty roles? As long as Allen keeps asking questions, he'll remain a voice worth listening to.

The passions, ambitions, and obsessions of two couples-Alfie (Anthony Hopkins) and Helena (Gemma Jones) , and their daughter Sally (Naomi Watts) and her husband Roy (Josh Brolin)-bring nothing but trouble and madness. Thus, when Alfie abandons Helene in search of his lost youth, she abandons sanity and succumbs to the bizarre advice of a deceitful fortune teller (Pauline Collins). Alfie undergoes a mid-life crisis and impulsively weds an escort named Charmaine (Lucy Punch) . Meantime, Sally, unhappy in her marriage, begins to fall in love with Greg (Antonio Banderas), the attractive gallery owner with whom she works. While, failed writer Roy falls head over heels for his neighbor Dia (Freida Pinto), a mysterious young woman who sparks his attraction from the window across the hall from his apartment.

This is a choral film dealing with a group of bourgeois characters living in London, including their crushes, ambitions, and anxieties that lead them into trouble and out of their minds. Woody Allen directs and writes this ensemble comedy and loving drama with a superb cast of a large international cast that moves like a fish in water through the London streets where the action takes place. This is a light-hearted, saucy and fun romp around conflicting ideas of what a good relationship must be and most of the humour is situational. After his successful Manhattan comedies, Woody Allen moved London where he made more serious (Match point, Scoop, Cassandra dream) than previous ones and later on, France (Midnight in Paris, Magic in the Moonlight), Barcelona (Vicky Cristina Barcelona) and Rome (To Rome with love) where he went on making amusing comedies.

The motion picture was well directed by Woody Allen, although it is excessively talky, and not showing too much of Allen's peculiar personal world. In the beginning Woody made usually hilarious films with hardly any personal comments about his own life in which he used to act, such as : ¨What's Up, Tiger Lily?¨, ¨Take the money and run¨, ¨Pussycat, Pussycat I Love You¨, ¨Sleeper¨, ¨Everything You Always Wanted to Know About Sex but Were Afraid to Ask¨, among others . Subsequently he made several masterpieces. Including a series of movies in which he provided nice direction, investing care enough, wit and warmth, such as : ¨Crimes and misdemeanors¨, ¨New York stories¨, ¨September¨, ¨Radio Days¨, ¨Hanna and her sisters¨, ¨Broadway Danny Rose¨, ¨Zelig¨, ¨Stardust memories¨, ¨A midsummer Night's Sex Comedy¨, ¨Interiors¨, ¨Purple rose of Cairo¨, ¨Manhattan¨,¨Melinda Melinda¨and many others . His best movie is ¨Annie Hall¨, Allen's most awarded, the Oscars voters were impressed and awarded various statuettes, winner among many other awards, of the Oscar for Best film, Direction, Script and Lead Actress. Rating 'You Will Meet a Tall Dark Stranger' (2010): 6/10 . Better than average. The movie will appeal to Woody Allen entusiasts and fans of the leading quartet: Naomi Watts, Anthony Hopkins, Josh Brolin and Antonio Banderas.

You Will Meet a Tall Dark Stranger, the latest Woody Allen's film is light, airy, lacy, elegant, sad, bittersweet and tender, just like a Boccherini musical piece for guitar that a beautiful young woman was playing sitting next to the window in a London apartment/flat. It is also funny, sharp, mocks the absurdity of existence, and manages to highlight the insignificance and callousness of the characters yet not to judge them while letting them search for "bell' alma inamorata", and are not we all searching? Allen is still the master of his craft, the creator of charming dra-medies. His favorite and constant themes of lives and deaths of the relationships, of growing older and refusing to accept it, of trying to postpone the inevitable meeting with a "tall dark stranger", of struggle to find the reason in a tale, "full of sound and fury", are all here. But he knows how to look at the familiar material from the unusual angle by mixing masterfully humor and seriousness, light touch and insight in the right proportions to explore the desires, longings, and motivations of the characters. One of the themes Allen was interested while working on the Tall Dark Stranger was faith in something because it is for humans to prefer the power of self-delusions over the darkness of bitter truths. He said: "This sounds so bleak when I say it, but we need some delusions to keep us going. And the people who successfully delude themselves seem happier than the people who can't." Sounds too serious but it is Allen's film, and is ironic, witty, and light. I ask myself why I love Allen's films so much and always wait for them impatiently. One of the reasons, he makes them for adults and about adults. His target audiences want to see a clever intelligent film without being manipulated or spoon fed. I admire Allen for respecting his viewers: "I never write down to them. I always assume that they're all as smart as I am . . . if not smarter". Or, more likely, I love his films because the beauty lies in the eye of the beholder, and my eyes are always open to the beauty of his films. They are so perfectly constructed and framed. They look and sound terrific. While watching them, I don't understand how can they not be liked and admired by everyone? His short films are not small to me. I need them and I always will.

"Well, as Sally told Roy, sometimes the illusions work better than the medicine."

As far as Woody Allen films go, You Will Meet a Tall Dark Stranger isn't out of the ordinary. The story is the usual mixture of completely unpredictable good and bad events, that seem to happen to his characters regardless of whether they deserve them or not. Much like life. Unintended consequences, fate, and the meaninglessness of it all is once again the underlying message, all presented through the lives of the wealthy and discontent. There's less humor than some of his movies, a little more than others, and I think that most fans of Allen's work will find it agreeable, if much less neurotic than something like Annie Hall. 

What does set this apart from some of the director's other work is the cast. Sure, Allen has a history of working with some excellent actors. This is the best cast he's had, in my opinion, primarily because I'm such a fan of Naomi Watts. To see her joined by Josh Brolin, Anthony Hopkins, Frieda Pinto, Lucy Punch, Antonio Banderas, Gemma Jones, and others...well, that's quite an ensemble. 

Overall, I was satisfied with You Will Meet a Tall Dark Stranger. Allen doesn't stretch himself much with this one, but the cast makes it memorable.

Anthony Hopkins is always a joy to behold on screen. If you're further into things British and your "Masterpiece Theater" memory is long, you will recognize wife #1 as the incredible "Duchess Of Duke Street" Gemma Jones, making a rare appearance on America's big screen. Like Allen's more recent films, save for the British accents, you could be in any city of urban sophisticates and wannabes. The London settings ultimately don't give the film a deep sense of any place in particular. But as Anglophiles have not been well-served of late Stateside, this release will have to do until some grand historic costume epic sweeps us back into a dark theater. All new Woody Allen comedies are also for those who don't dwell on the director's personal life and still enjoy him as a film-maker of thoughtful,lighter fare. Sure, his earliest films were more ground-breaking and side-splitting, but we've accepted that for eons now. Not an obvious Oscar contender as a whole, many of its performances are indeed worthy of consideration. Sony Pictures Classics' marketing is a good fit for American audiences who see the imprint of a studio's "for select audiences" arm as a modern-day film lovers' "Good Housekeeping" seal of approval -- proclaiming here is a work of cinema, several cuts above the mindless teen romp, action-adventure or horror rampage. Film comedy choices for 40-somethings on up have been bleak of late. As the Oscar race moves into its final quarter lap, a visit with this "Stranger" will brighten things up a bit. My 6 rating is relative to the quality of 2010's domestic crop. It could just as well have been a 5 if there had been more comedies worth $14 since January. But especially for Allen devotees, all is relative, in that sense at least.