4 stars out of 5
Since 1991, I’d seen 24 of the previous 25 Woody Allen films in the theater. (For you trivia nerds: Melinda and Melinda) And in the past handful of years, I’ve enjoyed a ritual of seeing Woody’s annual summer release. In the dark, air-conditioned theater, it was like taking a little vacation to the destination of Woody’s choosing.
Café Society was released on August 5, 2016. The problem being, I didn’t go to the movies from August 5-21. Or since then either. You see, first was the Summer Olympics, and I do enjoy me some Olympics. And then shortly after the Olympic flame was extinguished, I found myself hospitalized. So, among the other indignities I’d face over the following five months, I missed my yearly visit with the Woodman.
Thanks to a helpful neighbor and the services of my local library, I was able to recently obtain and view a DVD copy of Café Society. It’s winter and I was not in the enveloping comfort of a cinema, but I still enjoyed the movie quite a lot. The film re-teams Jesse Eisenberg and Kristen Stewart, who costarred in my favorite movie of 2009, Adventureland. It’s the 1930s and Eisenberg plays Bobby Dorfman, a nice Jewish boy from the Bronx who heads to Hollywood to improve his fortunes. Eisenberg, by choice or direction, is the latest in a long line of Woody stand-ins, and he has a lot of fun with the voice and mannerisms.
Bobby hopes his Uncle Phil will help him find work. That’s Steve Carell, portraying Michael Scott with a lot more confidence and success. Phil is a top Hollywood agent, and an amusing running gag has his conversations constantly being interrupted by important calls and stop-and-chatters, quickly discussing imminent deals involving Golden Era celebs.
Phil asks his comely secretary Veronica (Vonnie) to show Bobby around. That would be Kristen Stewart, and if you were wondering whether I still love her with short hair, well yes, yes I do. Vonnie’s midwest down-to-earthness is the antithesis to their La La Land surroundings, and Bobby falls hard. Alas, Vonnie has a boyfriend. Who turns out to be… the already-married and significantly older Uncle Phil. D’ohhh!
Now, in Woody’s lesser works, he’d milk this comic scenario for what it’s worth, find a way for some characters to escape happily, and ride gently into the sunset. But modern Woody has a headful of deep thoughts, which he smoothly incorporates to raise the film to another level. He deals with morality, family obligations, intelligentsia vs. brutishness, New York vs. L.A., losing your religion, unrequited love, requited love, and lasting regrets.
In addition to the leads, we get some really nice casting. Jeannie Berlin, fresh off her terrific performance as the district attorney in HBO’s The Night Of, is great as Bobby’s mom/Phil’s sister back in the Bronx. Parker Posey and Paul “Remember when I was in the Parks & Recreation cast? No?” Schneider are believable as New York socialites. Lively Blake Lively is the New York girl Bobby meets who… is also named Veronica! D’ohh! We also get Paulie Walnuts, Barney from Raising Hope, and Laura Palmer. (She’s alive!)
Woody himself is also around, as the film’s narrator. His voice does sound a little tired, but his script is sharp as ever. (A hilarious early set piece with Bobby and a Jewish prostitute is classic Woody.)
The film is shot and lit beautifully. It’s as if 85% of the story takes place during the “magic hour” — the settings glow. And Woody gets to freely insert the old-timey music he loves so much.
The only thing that was jarring to me was seeing “Amazon Studios” in the opening credits, but these are the current financial realities of filmmaking. Nevertheless, I’m already excited about 2017’s Untitled Woody Allen Project, when I’ll be back in a dark, air-conditioned theater.
I happened to catch this on the flight out to CA. His period films are a nice little aesthetic vacation indeed, but there’s something about them that is just too light and sweet for my taste. Kristin Stewart and Blake Lively were both wonderful, but I just didn’t believe either of them was living in the 1930s. Maybe it’s the Woody stand-ins as well. The films in which he has more distance from the characters seem stronger to me. Blue Jasmine was great. And Match Point … well, I still can’t believe he made it.
(Full disclosure: I’ve seen very few of Allen’s films since Crimes and Misdemeanors, but mostly because they just didn’t sound that interesting.)
But you hit on elements that, even for me, make this film worthwhile viewing, including the cinematography, the supporting characters, and the family dynamics.
I wonder what this would look like as a Cohen Brothers film?
Agree, he seems to work a little harder on some films, such as Jasmine and Match Point. But I like that even these lighter films have a little more “meat” than the ones from 20 years ago.
I wonder if, as Woody gets even older, he might turn over scripts to the Coens or others.
The state of CA also uses the 5 star system for grading Nursing Homes. I did my internship at a 4 star facility, then worked at a 4 star facility, and today visited a 4 star facility (trying to add another gig for our band’s March tour. Benefit shows = pathetic and overly vain; our band breathes and lives piety!) Currently I work at a 2 star facility LOLOLOLOL.
Maggie Roche – into the void, a 4++ Star career
I’ve listened to hmmm 7 of their 10 albums
multiple multiple times. She was The Roches’ anchor.
“..tough…luck….suck….” from Can We Go Home Now? (1999)
I wonder what her death from cancer would look like as a Cohen Brothers film?
on my second Rolling Rock for Karl. 8am isn’t too early for a great guy. Condolences to his family.
He was the one member of our twenty or so 5band tour through PA (You’ve Got A Fiend tour) who my sister had kind words for when we all performed in the park behind my childhood home.
http://saltinwound.com/2014/07/16/help-karl-hendricks/
Was devastated to learn about Karl’s passing yesterday.