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
Like Allen's later film "Blue Jasmine," this film takes several cues from Tennessee Williams's Streetcar Named Desire. Marietta, a Southern woman visiting the big city, echoes Blanche DuBois in several ways, including being horrified at the apartment Melodie lives in and being coy about her drinking. At least one of her lines ("You are not the gentleman I was expecting") is a direct homage to "Streetcar." See more »
In the scene where Randy bumps into Melodie at the clothing store, she has pink nail polish. In the next scene at the boat, she does not. 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 ...
[...] See more »
Woody Allen's alter ego, Boris (a bitterly good and sardonic Larry David) makes this statement to the audience rather early on in "Whatever Works". The truth is, no matter how misanthropic, sarcastic and neurotic Woody Allen is, he ultimately is a pretty likable personality...if you like that type. Allen's return to Manhattan after three stays in London and a wonderful stop-over in Barcelona is yet another niche film. Fans of Allen, as well as fans of Larry David's "Seinfeld" and "Curb Your Enthusiasm" (which not so ironically should be the same folks) will find plenty to laugh at here, while others will inevitability whine, "I don't care for Woody Allen...and oh, that Larry David! Can't stand him!"
The plot of "Whatever Works" is irrelevant. Boris is some sort of genius-level physicist trying to speed his way to death, though those metaphors are never explored as poignantly as they should be. It all just serves as a soap-box for Allen (through David) to funnel his usual dialogues about relationships, love, luck and the meaning of life. It's all very broad and obvious this time around, but it's sometimes nice to still be laughing at the same old feel-good shtick. It should come as no surprise that Boris also tells the audience this isn't a movie designed to make you feel good, unless you're Allen fans, and then you'll feel pretty swell afterward. Leave it to Allen to infer moviegoers are inherently morons, but we're sophisticates for watching his films.
Apparently this is a re-worked screenplay from the 1970's and the "Annie Hall" style monologues to the audience are evidence of that. In the jokes department you'll find old standards mocking the French and suggesting kids should attend "concentration camps" for the summer mixed with modern humor about the Taliban and Viagra. There's also one hilarious throw-away/blink-and-you'll-miss-it reference to James Cameron's "The Abyss" that makes you wonder if perhaps the screenplay was first reworked in the 1980's before its final incarnation here.
In the casting department we find Patricia Clarkson, yet again, is a delight in her curiously under-written over-written role (which is far too simply complex to explain in a traditional review) and continues to build a case for herself to be declared this generation's "Best Supporting Actress" twenty years from now. Evan Rachel Wood is cute-as a-button (oh, as her character might declare, what a cliché) as a Southern cutie-pie who runs away to New York City and meets up with the suicidal Boris. Allen, as always, is luminous with his photography of the "young lady." And unlike the similarly dumb motor-mouthed funny-voiced Mira Sorvino character from "Mighty Aphrodite", Wood's character is actually given an arc here and proves not to be as shallow and moronic as Boris originally assessed, which indicates maybe Allen is growing just a teeny bit in his view on women...or maybe not.
Ultimately this is yet another testament to Allen's world-view, which is summed up here as do whatever works for you to trick yourself into believing you're happy in this miserable world. Sure, there are times when Boris' diatribes run a few lines too long, or when the film stops dead when he is not on screen, but for the most part, this is Allen doing what works best for him. No other director can call himself out on all his personal pratfalls and annoying quirks yet still find a way to endear himself to the faithful who are ever patient with him and his films. No other director can be so charmingly mean-spirited and self-deprecating yet still find a way to declare his alter ego a genius at picture's end. And that's why we've always liked you, Woody, for better and for worse. For what it's worth, when it comes to Allen's better and worse, "Whatever Works" falls happily in between and works just fine, thank you very much.
112 of 139 people found this review helpful.
Was this review helpful to you?