A director is forced to work with his ex-wife, who left him for the boss of the studio bankrolling his new film. But the night before the first day of shooting, he develops a case of psychosomatic blindness.
Suffering from writer's block and eagerly awaiting his writing award, Harry Block remembers events from his past and scenes from his best-selling books as characters, real and fictional, come back to haunt him.
Lee Simon, unsuccessful journalist and wanna-be novelist, tries to get a foot into the door with celebrities. After divorcing his wife Robin, Lee gets to meet a lot folks of the rich and / or beautiful, partly through journalism, partly because he has a script to offer. But life among those from out-of-this-world is hard, and his putative success always results in defeat. Meanwhile Robin meets a very desirable TV-producer and takes the first steps in the world of celebrities herself. Written by
Julian Reischl <firstname.lastname@example.org>
When Lee crashes into the shop window when driving his Aston Martin with the supermodel played by Charlize Theron on the passenger seat, it is obvious that only the driver doing the stunt is present in the car and that nobody is sitting next to him. See more »
A lot of the reviews have said that this film is one of the weaker recent Woody Allen movies, but I actually thought it was his best since Husbands and Wives. It's much more subtle but every bit as scathing as Deconstructing Harry. Everyone says Woody's films just aggrandize himself, but I feel that his latest few have been exercises in self-loathing.
Certain people (in these very pages) have felt that one is supposed to sympathize with the Branagh character. Certain people, we must remember, are on crack. Branagh plays a low-life louse who gives the word narcissim a whole new meaning. He is looking to revitalize his life by entering the world of celebrities. He is contrasted with his ex-wife (the always amazing Judy Davis... who doesn't she do more films?) who is also looking to change her life, but not necessarily by becoming famous. She does become famous, and near the end she says what I think is the key line: "I've become the kind of person I've always detested, but I'm happier." My friend and I had an argument later about what the film was saying: a) that Judy has given up on seriousness and meaning by becoming a celebrity, but now she's happier, or b) that the "entertainment products" that these people turn out don't matter at all, and that if one can find personal happiness (Judy eventually becomes much more social and comfortable with people) by doing them, then that's great. I don't know, but this is a far more interesting treatise on finding happiness than the dreary "Happiness" was.
This is also the funniest Allen film in years, with two total laugh-out-loud lines which I won't spoil here.
Overall, I felt the celebrity part, and all the walk-ons we not at all the focus of this movie, it just uses that world as a backdrop. This film is also very sweet and real, with the scene in which Judy Davis visits a psychic being one of the most intimate and touching I've seen.
One last thing, it's fun to see a Woody Allen film in New York City, because you can watch the audience trying to identify all the places where the scenes are set.
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