christie501
A rejoint le avr. 2004
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Note de christie501
One of the most commonly leveled criticisms against Woody Allen is that he has no range as an actor or is that he simply plays the same stammering intellectual in all of his films. Nothing could be further from the truth and this film is testament to this fact.
This beautifully shot film is concerned with theatrical agent, Danny Rose, a man who takes on blind xylophone players and one legged tap dancers. Terrible acts and yet Rose believes in every single one of them, no matter how badly they are doing. His big break comes with the public's newfound appetite for nostalgia, which brings egomaniac and alcoholic crooner, Lou Canova back into the public eye.
Canova flourishes and is set to make his comeback complete when he requires Rose to bring his mistress, Tina to the concert. Various complications and highjinks ensure that this is no easy task.
This is the comedy of the situation and the movie relies on this farce for its comic effect. However, what separates this from other sub-standard films is the characterisation that Allen brings to Rose. At first glance Rose is a loser, whose acts leave him as soon as they get anywhere. But the belief he has in his charges and the commitment he is prepared to put into them allows a great deal of empathy for him. Allen plays it brilliantly, allowing just the right amount of pathos and charm.
A splendid movie, full of the typical Allen one liners and with one very very funny shoot out scene with helium.
This beautifully shot film is concerned with theatrical agent, Danny Rose, a man who takes on blind xylophone players and one legged tap dancers. Terrible acts and yet Rose believes in every single one of them, no matter how badly they are doing. His big break comes with the public's newfound appetite for nostalgia, which brings egomaniac and alcoholic crooner, Lou Canova back into the public eye.
Canova flourishes and is set to make his comeback complete when he requires Rose to bring his mistress, Tina to the concert. Various complications and highjinks ensure that this is no easy task.
This is the comedy of the situation and the movie relies on this farce for its comic effect. However, what separates this from other sub-standard films is the characterisation that Allen brings to Rose. At first glance Rose is a loser, whose acts leave him as soon as they get anywhere. But the belief he has in his charges and the commitment he is prepared to put into them allows a great deal of empathy for him. Allen plays it brilliantly, allowing just the right amount of pathos and charm.
A splendid movie, full of the typical Allen one liners and with one very very funny shoot out scene with helium.
Having seen this film, I agree that it was a very fine film. However I think it is perhaps in spite rather than because of Sofia Coppola. The direction on her part is quite good but the script is quite simply awful. How on earth it got an Oscar for Best Original Screenplay? It is up there with Raging Bull losing to Ordinary People for Best Picture for unbelievable Oscar winners.
Scarlett Johansson and Bill Murray are both luminous in their performances, especially given the material they have to work with. Both are quite cliched roles but this wouldn't really matter if Coppola had given some kind of variation on them but this is lacking. Every Japanese person presented is a stereotype. Either they are wacky, subservient, infatuated with the west or just kitsch. Fine film but Miss Coppola ain't no writer.
Scarlett Johansson and Bill Murray are both luminous in their performances, especially given the material they have to work with. Both are quite cliched roles but this wouldn't really matter if Coppola had given some kind of variation on them but this is lacking. Every Japanese person presented is a stereotype. Either they are wacky, subservient, infatuated with the west or just kitsch. Fine film but Miss Coppola ain't no writer.