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.
Two London brothers are hard-up for cash, and both have girls to look out for, too. When rich Uncle Howard comes to town and agrees to help them out, he admits his finances are under investigation, and he asks them to do him a favor and "take care of" an old business relation to keep his trouble under wraps - he says that they're family, and since he always takes care of them, the least they could do is help him out this once, as they're the only ones he can trust. The film follows their struggle with the immorality of this request and how each brother chooses to deal with it. Written by
When Woody Allen first approached Philip Glass about doing the film's score, they had an initial meeting in which Glass played him a particularly ominous piece of music. Allen remarked that it was a very heavy section of music and that it would be perfect for establishing the dark mood of the film. Glass interjected with the fact that the music he'd just played was actually the love theme and he hadn't gotten round to writing anything ominous yet! See more »
The ashtray and the cigarette pack keep appearing and disappearing on the table when Terry is eating with his whole family in the beginning of the movie. See more »
Ah, she's a beauty! I mean, look her - she's not new, but she looks new. He said the engine needed work.
I could do the engine.
I can't believe he's asking so little. It's practically a steal.
John Anderson said we could keep it at his marina - free of charge - at least for a year till his son comes back.
Ah, here he comes. Don't show you're too eager or he won't budge on the price, all right?
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"Cassandra's Dream" is the final installment of Woody Allen's London trilogy and concludes his best trio of films in over 20 years.
This is a totally uncompromising film. It's all dialog, character development, and acting. Any "action" takes place off camera and although there is bloodshed, we do not see a drop of blood on screen. This is in stark contrast to recent bloodbath type movies like "No Country for Old Men," "Sweeney Todd," and "There Will Be Blood."
Unlike "Match Point," this film is not overly derivative. The acting is good and Colin Farrell gives his best performance ever. Philip Glass's score helps convey the feeling of inevitability. However, the photography is kind of dull and fuzzy.
If you like old fashioned movies that rely of story, dialog, and acting; "Cassandra's Dream" is exactly the type of movie you thought they did not make any more.
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