Melinda and Melinda

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.

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.

Are Life, Existence, and Everything inherently comic or tragic? Woody Allen has never been shy about staring down big questions, and with "Melinda and Melinda" he takes a crack at nothing less than the human condition itself. Presented with the same set up, two dining Manhattan playwrights take us through their version of events according to their world views. An unexpected guest crashes a dinner party; is it the makings of disaster or farce? More importantly, is there really a difference? The Melinda (Radha Mitchell) of both competing vignettes is a train wreck of a woman, and makes both her entrances at her worst. Both parties contain struggling actors and couples with respective career and marital difficulties. In each, Melinda's arrival is the catalyst for all manner of bottled up tensions to come to a head. As the stories mirror one another, then veer away only to meet up again, Allen underscores the comic nature of tragedy and vice versa. As expected in an Allen film, there's strong work all around, particularly from Will Ferrell as a stand-in for Allen himself.

There's very little to offend about "Melinda and Melinda." As usual, Allen is working with ideas, and has made a film with a baseline quality about it that's gratifying. Yet most of "Melinda and Melinda" is trodden ground for Allen, and has seen better days in his earlier work. It's hard to fault the guy for being so prolific; indeed the real comedy/tragedy is how unappreciated he seems to be in recent years, considering his output. But, as Allen himself might say, comedy, tragedy; it's like anything else.

Is Melinda and Melinda one of Woody Allen's best? To me, no it isn't. Is it one of his worst? Again, no but like a fair amount of Allen's films it seems to be quite a divisive film, and you can see why. Things considered, while not a great film and with some unevenness Melinda and Melinda is a good film but a love-it-or-hate-it one as well. As with almost all Woody Allen films, it's beautifully made- such attractive locations and the cinematography flows from one frame to the other with few problems- and Allen directs very assuredly on the most part if more in the comedy scenes than the dramatic. The music fits with the atmosphere really well and has a nostalgic and catchy quality to it too. The acting is mostly very good, Radha Mitchell shows that she is as easy in comedy as she is in drama, funny and warm-hearted in the comedy scenes and affecting in the dramatic ones. Chloe Sevigny is another one of the reasons that makes the drama more watchable than it is, she looks very natural and plays with emotion, while Amanda Peet is fine too though underused. Will Ferrell was the biggest surprise of Melinda and Melinda, his performance was by far and away one of the best performances of the younger Allen alter-ego characters. Much better than Kenneth Branagh in Celebrity and Jason Biggs in Anything Else, whereas they were pale imitations Ferrell had charm and charisma and made the role his own in a way the other two did not. Not everybody impressed though, Chiwetel Ejiofor is stiff and Johnny Lee Miller is rather one-note in a quite boorish role. I am in agreement with those too that the comedy here is better than the drama. The comedy in Melinda and Melinda was great, very witty and quotable and a lot of it did make me laugh out loud. The scenes with the comedy are bright and breezy and have a light-hearted feel that is most endearing, and the characters while somewhat typically neurotic are relatively easy to engage with and the spirited performances help. The drama is not on the same level(a surprise really because Allen has shown that he can do comedy and quite insightfully and truthfully and those qualities unfortunately didn't come through), some of the dramatic scenes do drag a lot, the dialogue does sound forced and overwrought and the characters are much less likable and interesting than in the comedy story(fairly unusual for Allen, he has been known to have compellingly real characterisation when he takes on drama like in Hannah and Her Sisters and Husbands and Wives). The concept was an ingenious one, one of Allen's cleverest concepts actually, and Allen does make a commendable effort in entwining the two stories together even if it did personally feel a little confusing sometimes and the film does feel like one with two halves. All in all, Melinda and Melinda an uneven film but it is also a good and interesting one and in terms of where it sits within Allen's filmography I'd say somewhere in the middle. 6.5/10 Bethany Cox

This presentation is original and clever; very nicely twisted from the Rashamon perceptions of several disparate pasts. As usual, Woody is very perceptive and a master of dialog, especially in fracturing relationships.

I noted that the "comedy" writer was heavily focused on the tragic elements of his plot line, while the "tragedy" writer saw little humor in his plot line. Actually, the 2 writers did not seem to differ very much at all in their views. It does not appear that Woody finds life very humorous. Rather, he finds humorous elements in mundane and sad events.

More obviously, most of the characters sound just like Woody. The comedy writer might as well have been Woody and Will Ferrell is a Woody stand-in. Several of the others, including the women, had numerous "Woody" moments. It seems like the actors and even the screen are interfering with Woody's attempts to present his art. Unlike other directors who expect the actors to climb into the characters, Woody seems to ask the actors to stand still while he paints them as the characters. Would he prefer to simple do a monologue?