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.
Attempting to impress his ideologies on religion, relationships, and the randomness (and worthlessness) of existence, lifelong New York resident Boris Yellnikoff rants to anyone who will listen, including the audience. But when he begrudgingly allows naive Mississippi runaway Melodie St. Ann Celestine to live in his apartment, his reclusive rages give way to an unlikely friendship and Boris begins to mold the impressionable young girl's worldly views to match his own. When it comes to love, "whatever works" is his motto, but his already perplexed life complicates itself further when Melodie's parents eventually track her down. Written by
The Massie Twins
When Woody Allen started to write the movie back in the 70s, his main idea was to tell how a family of intolerant rednecks changed completely for different reasons after a while in New York. See more »
After Melody firsts enters Boris' apartment and is offered a can of sardines, she removes the high school jacket she is wearing. Then, after the next jump-cut, she is again shown in the process of removing the jacket. See more »
That's not what I'm saying, imbecile. You guys completely misrepresent my ideas, why would I even want to talk with those idiots.
Just calm down.
That's not true, Boris.
No, don't tell me to calm down, I am calm. Just stop.
Don't jump on us just because we don't understand what you're saying.
I didn't jump on you. It's not the idea behind Christianity I'm faulting, or Judaism, or any religion. It's the professionals who've made it into corporate business. There's big money in the ...
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The critics have missed on this one. Don't believe the negative reviews. It's the funniest one from Woody since maybe Deconstructing Harry. Everything works. From the very original script, combining Allen's bleak view of life with effervescent farcical plot line, to uniformly fine performances from Larry David, Evan Rachel Wood, Patricia Clarkson, and the rest of the cast. Comedic sparks fly non-stop. Not just light chuckles here and there at Woody's witticisms, but loud all-out laughter. The scenes with Ed Begley's and Patricia Clarkson's transformations of 'classic text-book right-wing material' are especially hilarious. And in the end I came out from the theater, thinking that in a paradoxical way it was one of the most life-affirming pictures from the master.
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