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Mighty Aphrodite (1995)

R  |   |  Comedy, Fantasy, Romance  |  11 January 1996 (USA)
7.1
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Ratings: 7.1/10 from 29,273 users   Metascore: 59/100
Reviews: 88 user | 59 critic | 16 from Metacritic.com

When he discovers his adopted son is a genius, a New York sportswriter seeks out the boy's birth mother: a prostitute.

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Title: Mighty Aphrodite (1995)

Mighty Aphrodite (1995) on IMDb 7.1/10

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Won 1 Oscar. Another 13 wins & 9 nominations. See more awards »

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Cast

Cast overview, first billed only:
Pamela Blair ...
Rene Ceballos ...
Greek Chorus (as René Ceballos)
Elie Chaib ...
George De La Pena ...
Joanne DiMauro ...
...
...
Greek Chorus (as Marianne Filali)
Angelo Fraboni ...
Scott Fowler ...
Seth Gertsacov ...
Patti Karr ...
Fred Mann III ...
John Mineo ...
Christopher Nelson ...
Valda Setterfield ...
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Storyline

Lenny and Amanda have an adopted son Max who turns out to be brilliant. Lenny becomes obsessed with finding Max's real parents because he believes that they too must be brilliant. When he finds that Linda Ash is Max' real mother, Lenny is disappointed. Linda is a prostitute and porn star. On top of that, she is quite possibly the dumbest person Lenny has ever met. Interwoven is a Greek chorus linking the story with the story of Oedipus. Written by Jason Ihle <jrihl@conncoll.edu>

Plot Summary | Add Synopsis

Taglines:

The new comedy from Woody Allen


Motion Picture Rating (MPAA)

Rated R for language and sex-related material | See all certifications »

Parents Guide:

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Details

Country:

Language:

Release Date:

11 January 1996 (USA)  »

Also Known As:

Poderosa Afrodita  »

Box Office

Budget:

$15,000,000 (estimated)

Gross:

$6,700,000 (USA)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Mono)

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

One of the only Woody Allen films that differs in its style of credits. Despite the credits being set in the usual Windsor typeface, at the end of the film, they are superimposed on top of the chorus dancing. After the image fades to black, the credits scroll instead of being still. See more »

Goofs

At Belmont Park, Linda calls Lenny (Woody Allen) "Woody." See more »

Quotes

Linda Ash: But seriously, you wanna know why I liked you right from the start?
Lenny Weinrib: Why?
Linda Ash: Cause I'm always attracted to losers
Lenny Weinrib: Losers. You think I'm a loser?
Linda Ash: Yeah, you've got no confidence, it's sweet, I like that in a man. I can't stand those johns who come in and throw down a couple of hundred and whip out a big dick and wave it all over the joint.
Lenny Weinrib: I wouldn't do that, even if I wanted to...
See more »

Crazy Credits

The Greek Chorus does the "When You're Smiling (The Whole World Smiles At You)" song-and-dance production number over half the credits. See more »

Connections

Featured in The 70th Annual Academy Awards (1998) See more »

Soundtracks

Horos Tou Sakena
Written by Stavros Xarhakos
Featuring by Giorgos Zambetas (as George Zambetas) in solo bouzouki
Courtesy of Minos-EMI S.A.
See more »

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User Reviews

 
How close to home do you want to get?
4 July 2003 | by (Derry, Ireland) – See all my reviews

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.


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