Tout le monde dit I love you

High camp and high neuroses in the same picture.

If you get everything you ever wanted, you still aren't satisfied because your own fantasies can never be truly fulfilled in the real world. It's kind of what Woody Allen is saying by making this movie into a goofy musical. It's his own fantasy of what movies used to be like, but can't ever be anymore. The small touches of realism, like the grocery store heist or the homeless man breaking out into song provide both humor and a commentary on how unsubstantial and irrelevant musicals are. But aren't they fun?

The most obvious example of the theme is the Julia Roberts storyline. She gets everything she ever wanted, but instead of making her happy in her new life, it helps her therapy for her old life. Joe was married to Steffi, all the woman he ever wanted, but he was so afraid it would fall apart that it did fall apart. Skylar wants a man to take control and sweep her off her feet, but when Charles Ferry comes along and does just that, she can't live with the consequences. There are other examples.

The execution of the movie is awkward and sometimes off-putting. But this movie is an experiment in form x function - what kind of story lends itself to the musical form? Sometimes it works and sometimes it doesn't. For example, it used to be that musicals helped you into the mood by introducing songs, something that couldn't be done here because of the very nature of the story. It can be stagey and forced if you're not already in the mood. On the whole, however, everyone seems to be having a good time, and it shows up in mostly loose, endearing performances - even the ever-annoying Goldie Hawn, who I'd normally want to toss in the river in any other movie.

I didn't really know what to expect when I heard this was an all-stops-out Woody Allen musical, featuring the REAL voices of his stars. Some of them should definitely not quit their day jobs--Julia Roberts and Ed Norton in particular. Others, like Goldie Hawn, Alan Alda and Tim Roth, fare much better. I shudder to think what Drew Barrymore sounds like--she has said her voice is SO bad, she insisted on someone dubbing it. I can't imagine how she could top Julia Roberts on the "tone deaf" meter.

There really isn't much of a plot here. It's basically about upper-class New Yorkers struggling with their love lives, but the plot gives Woody an excuse to film in Venice and Paris and mimic his hero, Groucho Marx. Some of the musical interludes are really creative and funny--dare I say as good as some of the numbers in the classic MGM musicals. And some of the numbers, in places like hospitals, funeral homes, and jewelry stores, are a little on the bizarre side. Woody Allen fans will most definitely appreciate this more than the average viewer. And on another note, I have no idea why this movie is rated R. There is no profanity, no nudity, no sex, no violence---I think the MPAA was on drugs when they saw this.

In an old fashioned musical, the loves and losses of an extended upper-class family in Manhattan are followed in song from NY to Paris and Venice.

The company logo comes onscreen followed closely by the white title on a black background. Seconds later we are into the first song as two young lovers walk in the park - and it's not until 100 minutes later that it lets you go again. The plot is nothing more than lots of strands of love and loss tied together by family connections. None of the stories really have any great significance but are backed up by wit and some charming song and dance numbers. This is whimsy at it's very best.

It feels like Woody Allen has really relaxed and is making films that hark back to an older age - indeed his usual style is tuned down a little to make it more accessible and more enjoyable. He has several black characters, his humour is witty but less cruel than usual and his narrative is driven by a teenage girl rather than himself. It feels so free of his usual cynicism that it adds to the weightless charm it already has. He handles the song and dance scene with such vigour and such imagination that you find yourself wondering why he hasn't done a musical before.

The superb cast all catch the charm and light feel perfectly. Not all of them are great singers but they all do well and give their best (except Barrymore who refused and was dubbed). The usual stars are complimented by plenty of well known faces - Alda, Goldie Hawn, Lucas Haas, Portman, Tim Roth, Roberts and of course the wonderful Edward Norton.

This is 100 minutes of lightweight wonder. It has no rough edges, no difficult issues, no cruel jokes and very little swearing. Only the coldest heart could fail to warm to this little charmer.

Woody Allen takes us back to the true form Broadway musical and adds splashes of droll, post-modern sensibility and humor. A charming film. The balance of characters and their foibles, showtunes and milieu. Existentialist song and dance with a touch of dark romance.

A fresh and original musical comedy, the film takes classic songs and fits them into a new vision with some different dance routines. The choreography is lively and the actors and actresses do not look like professional dancers, which helps to make the music and dance side more natural. It is still as witty and funny as one would expect from a Woody Allen comedy, and the ensemble cast brings forth some great performances, even from actresses such as Goldie Hawn and Drew Barrymore who are not usually amazing. Other than light commentary on love and romance in New York and international society, the film is lacking in depth, some of the sequences are overdone and the narration tires as it progresses, but generally the film is well made. It also possesses a charm that helps it to swing along, and it becomes easy to accept different sequences, given that it is a musical that one is watching. The film will however best be enjoyed by those who are familiar with its redone songs.