Poderosa Afrodite

Woody Allen gives us an unconventional friendship with a Greek tragedy (Or comedy) as its backdrop. Story is about a sports writer named Lenny (Allen) who is married to Amanda (Helena Bonham Carter) and she works in an art gallery but their marriage is on the rocks so Amanda suggests they adopt a baby but Lenny at first says no. After they adopt a boy they name Max it takes no time for Lenny to change his mind. As Max grows Lenny is very curious about who left him for adoption and he starts snooping around until he tracks down Max's real mother. Turns out his real mother is Linda Ash (Mira Sorvino) who is a hooker and sometimes porno actress and Lenny sets up dates with her (No sex) and gets to know her better. He doesn't tell her that he has adopted her son and a friendship develops between the two. Meanwhile, Amanda is having an affair with Jerry (Peter Weller) and she moves out. Lenny tries to help Linda improve her life and sets up a date between her and a local boxer named Kevin (Michael Rapaport). During the course of this film Lenny talks to members of a Greek chorus who chant out what he should and should not do and sometimes they break into song! Three of the Greek chorus members are F. Murray Abraham, David Ogden Stiers and Olympia Dukakis. This is one of Allens funniest films in years and Sorvino steals the picture. I could listen to her talk that dialogue all day long. One of the many lines that stand out is when on a date with Rapaport she tells him she dated a pinball champion, but two guys strangled him! Sorvino appears on the surface to be just another kooky hooker but as the film develops we start to really care for her character and Sorvino adds just the right amount of charm and realism without forgetting the comedic elements of her role. One of the reasons the friendship between her and Allen works so well is because Sorvino displays her own sharp and quick wit to their spirited conversations. Allen has never used four letter words in his films but he does here and it seems appropriate with Linda's background and the violent pimp that Lenny goes to visit. The cinematographer is the great Carlo DiPalma and he's shot several of Allens films as well as "Blowup". The colors are interesting in several shots and the color yellow is very prominent. The focus of the story is about Allens character tempting fate by intruding in on Linda's life and trying to change it. This is clearly one of Allens best films and Sorvino is just terrific in a career making performance.

This is a charming movie - particularly the parts played by the boxer-onion farmer, and prostitute/porn star, and their two scenes together. Allen's character's efforts sense of what happier direction the prostitute's life could take and his efforts to reform her, are also exactly what most of us would do if we discovered that she was the biological mother of our adopted child.

Allen has such imagination - and such an understanding of how people of varying education and background, talk and move, and what they care about.

I did feel the subplot involving Helena Bonham-Carter, her career and Peter Weller, was less imaginative, less interesting. I've always had trouble warming to Bonham-Carter - perhaps it's just how unlikeable virtually all her roles have been - and this role didn't help.

Mira Sorvino's character sounds amusingly like Victoria Jackson from Saturday Night Live - her figure is so eye-popping, and her sweetness so endearing that she definitely is the memorable character for anyone who sees the movie. "Oh, that's the one with Mira Sorvino" is undoubtedly how people would remember this movie. However, the Greek chorus was a wonderful idea - and Jack Warner in a small role as a blind seer, and F. Murray Abraham as the principal chorus member/conscience of the movie is also wonderful.

I have just watched Woody Allen's magnificent movie again for the first time in almost 10 years and am more convinced than ever that it is one of his most under-rated films (but then, how do you judge an artist - by his individual works or by the overall body of his work?). And if suddenly I feel I am getting too serious here, let's just say that this is a very funny film.

By now there is no escaping the fact that Woody Allen's films are largely autobiographical in that he uses what is happening in his own life to fuel his storylines. For an audience this is sometimes only apparent in hindsight as the tabloids are quick to exploit Woody's foibiles. But he beats us to it, and for that reason "Mighty Aphrodite" deals us a killer blow - it is very, very funny but in dealing with adoption, children and in marriages on the verge it is also very moving. I laughed till I cried (the juxtaposition of the Greek chorus with the contemporaneous is a brilliant device) and finally I just cried.

As to the movie itself, it is beautifully photographed and brilliantly edited (and with some inspired choreography) and acted to the highest order: (Helena Bonham-Carter standing in for Mia Farrow just as well as Kenneth Branagh stood in for the Woodmeister in "Celebrity" - and how incestuous can we get here). But the final word has to go to Mira Sorvino who is funny, touching and inspired. Sometimes (not often) the Academy gets it right and her Oscar was one of their finest hours.

I can say that "Mighty Aphrodite" is the film that made me really appreciate Woody Allen's films. His direction is great, and so is the screenplay in the majority of his pictures.

The story of "Mighty Aphrodite" is magic, light, funny and beautiful. The idea of the Greek chorus is just incredible! All the cast is great, but the best one is really Mira Sorvino. She deserved her Oscar playing Linda Ash, a nice and ingenuous prostitute.

So if you like Woody Allen's films, you'll surely love this one like I did.

Allen and Bonham Carter adopt a boy of such genius that Allen sets out to find his real mother who turns out to be a prostitute and porn movie star and not the sharpest pencil in the box.

One of Allen's better comedies held up high by a luscious performance by Sorvino - you just can't wait until she's back on screen. As usual the support cast is impressive and Allen's interplay with Sorvino is as witty as he's been for some time. In addition, the use of a Greek chorus lead by F Murray Abraham who largely counsel Allen on his life is nicely handled.