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Magic in the Moonlight (2014)

PG-13 | | Comedy, Romance | 15 August 2014 (USA)
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A romantic comedy about an Englishman brought in to help unmask a possible swindle. Personal and professional complications ensue.

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2,245 ( 421)
1 win & 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
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Wei Ling Soo's Assistant
Natasha Andrews ...
Wei Ling Soo's Assistant
Valérie Beaulieu ...
Wei Ling Soo's Assistant
Peter Wollasch ...
Stage Manager
Jürgen Zwingel ...
Backstage Fan
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Backstage Fan
Sébastien Siroux ...
Backstage Fan
...
...
Cabaret Singer
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Olivia
...
Aunt Vanessa
...
Caroline
...
George
...
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Storyline

Stanley is a magician who has dedicated his life to revealing fraudulent spiritualists. He plans to quickly uncover the truth behind celebrated spiritualist Sophie and her scheming mother. However, the more time he spends with her, he starts thinking that she might actually be able to communicate with the other world, but even worse, he might be falling in love with her. Written by Anne Campbell

Plot Summary | Plot Synopsis

Genres:

Comedy | Romance

Motion Picture Rating (MPAA)

Rated PG-13 for a brief suggestive comment, and smoking throughout | See all certifications »

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Details

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Release Date:

15 August 2014 (USA)  »

Also Known As:

Magia a la luz de la luna  »

Filming Locations:

 »

Box Office

Opening Weekend:

$412,095 (USA) (25 July 2014)

Gross:

$10,506,939 (USA) (7 November 2014)
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Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Emma Stone considers Diane Keaton, long a mainstay in Woody Allen's earlier films, to be a major influence on her work. See more »

Goofs

In the first scene, the Chinese wordings on the backdrop on stage of Wei Ling Soo's performance are simplified Chinese characters, which not introduced until 1935 and were not officially used in mainland China until the mid-'50s. See more »

Quotes

[first lines]
Stanley: I don't understand. Is the conductor a blithering idiot? He went over the tempo six times. It's Adagio, Adagio, Adagio! It's not racehorse tempo.
See more »

Connections

Referenced in Countdown: Episode #73.69 (2015) See more »

Soundtracks

You Call It Madness (But I Call It Love)
Composed by Con Conrad, Gladys DuBois, Russ Columbo and Paul Gregory
Performed by Smith Ballew and His Piping Rock Orchestra
Courtesy of Columbia Records by arrangement with Sony Music Licensing
See more »

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User Reviews

 
A Widely and Profoundly Misunderstood Gem
20 August 2014 | by (Watertown, Mass.) – See all my reviews

Most viewers are taking this film as a conventional (and admittedly entirely predictable) romantic comedy which happens to be about a magician who debunks fake spirit mediums, and a beautiful young woman whom he believes is just that. But that's getting it *entirely backwards*. It is in fact a thought-provoking exploration of the extreme materialistic worldview -- the view that holds that modern science has eliminated the possibility of the existence of the soul, an afterlife, and God -- and an exploration of the psychological relationship between embracing that worldview, and being pessimistic and unhappy. As such, it is one of Allen's most personal and thought-provoking films in years.

And if that sounds "heavy," the miracle of the movie is its very lightness. Obviously, the themes enter in so effortlessly that many people are missing them entirely! You need to be interested in the tension between the materialist worldview and the conventional one that accommodates the spiritual and the mysterious, but if you are, you will be astonished at how delightful and entertaining an exploration of those deep themes can be.

The age discrepancy between Frith's and Stone's characters, which I am sure will bother many, is in fact completely necessary: he must be old enough to be set in his pessimistic ways, and she must be young and beautiful enough to challenge them at first sight.

Obviously there are happy atheists and there are miserable spiritual people, so the question that Allen is asking here is whether some unhappy atheists have embraced the soul- and God-denying position too vigorously, as a sort of defense mechanism to shield themselves from the fundamentally irrational possibility of falling in love. The way the movie knits together the materialist / spiritualist question, the possibility of love, and the metaphor of magic -- well, it's sheer magic itself.

This is far from Allen's funniest movie, and it's only a 7/10 as entertainment. But not only does it easily gain an extra point for its depth, it almost gains two. Admittedly, I am fascinated by the movie's themes, but I think that anyone who is interested in them may find themselves as charmed and, ultimately, as deeply moved as I was. 89/100.


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