In 1930's Hollywood, the powerful agent, Phil Stern, is attending a party and receives a phone call from his sister living in New York. She asks for a job to her son and Phil's nephew, Bobby, who decided to move to Hollywood. Three weeks later Phil schedules a meeting with Bobby and decides to help him. He asks his secretary Veronica "Vonnie" to hang around with Bobby, showing him the touristic places. Bobby immediately falls in love with Vonnie, but she tells that she has a boyfriend, a journalist that travels most of the time. However, Vonnie's boyfriend is indeed a married man that is also in love with her and soon she has to make a choice between her two loves. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
"Cafe Society" was a phrase coined by Maury Henry Biddle Paul in 1915 to describe the "beautiful people" who socialized and threw parties in the high profile cafés and restaurants in New York, Paris, and London. See more »
During the nightclub sequences, apart from the New Years Eve scene when they play "Auld Lang Syne", the band musicians are obviously miming or not playing their instruments, although we hear them play various jazz tunes. See more »
First a murderer, then he becomes a Christian. What did I do to deserve this? Which is worse?
He explained it to you. The Jews don't have an afterlife.
We are all afraid of dying, Marty! But we don't give up the religion we are born into.
I'm not afraid to die.
You're too stupid to appreciate the implications.
I didn't say I like the idea. And I will resist death with everything I have. But when the Angel of Death comes to cut me down, I'll go. I'll protest. I'll curse. You hear me? I will go ...
[...] See more »
Set in the 1930s, a young Bronx native moves to Hollywood where he falls in love with the secretary of his powerful uncle, an agent to the stars. after returning to New York he is swept up in the vibrant world of high society nightclub life.
Café Society opened this year Cannes Film Festival and is the latest film directed by Woody Allen. It's a story that mixes various parts of the Allen back catalogue to varying degrees of success. A film that wants more than anything to entertain. In many ways Café Society could be said to restate almost all of the key ideas and themes of Woody Allen's films in one way or another: life, chance, fate, love and guilt.
It also comes from the movie providing the performances. Jesse Eisenberg is so seamlessly cast as the prototypical Allen protagonist that when the film shift from Allen's voice over to Bobby speaking it feels continuous. Bobby's broken heart has caused him to undergo a Bogartian growing up: from a gauche boy to a mature disillusioned man, trapped in the wrong marriage. Moreover, Kristen Stewart sad eyes, throaty delivery and slightly heartbreaking aura make her almost interesting, ad an easy chemistry between her and her third-time co-star Jesse Eisenberg and he fits perfectly into his role while she simply overflows the screen.
But if Café Society is Allen quoting Allen, sometimes literally, at least he's quoting his better bits. Surprise comes from the movie providing the honeyed cinematography by V. Storaro which uses silhouette, graphic compositions and glowing close ups in an often genuinely breathtaking manner. "Life is comedy, but it's one written by a sadistic comedy writer" says Bobby. The comedy writer Allen on display here is more wistful and nostalgic for the very concept of unfulfilled true love, for the heyday of the Hollywood star system, for a New-York of gangsters and back alley craps game and stolen kisses at dawn in Central Park. And all of that nostalgia is okay. Because we were getting pretty nostalgic for the good odd days of warm, witty, fond and funny Woody Allen too.
Make no mistake Café Society is still late-period Allen. Men are described in terms of their characters and complications, while women are still described in terms of their beauty and their effect on said men. When Blake Lively's character motherhood becomes the butt of an exchange between two men, about how women who become mothers devote way too much time to their children (and ultimately not enough to their husband); it's a sour note that reminds us that Bad Allen is always there, underneath.
Overall, this film is Woody Allen's most charming film since Midnight in Paris and maybe most beautiful to look at, maybe ever. It's a little pretty little reminder of what once was
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