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.
Al, Louise, Max and Sy - four literary types who work in the theater business - are discussing what they believe to be the real life truths underlying their work, Max who writes primarily tragic plays, and Sy who writes primarily comic plays. Al proceeds to tell them a real story of a troubled woman named Melinda Robicheaux showing up unexpectedly at a door in the middle of an important business dinner party. Melinda long ago left her physician husband to embark on a relationship with who she initially believed to be the man of her dreams, which ended up not being the case. Melinda tries to put her life back together with the help of select people at the dinner party, some who have their own ulterior motives. Melinda's appearance also opens up the cracks existing in the marriage of one of the couples at the dinner party, while it leads to the dissolution of a friendship that has existed since college. With this basic outline of a story, Max and Sy try to make their point of life being... Written by
When Melinda, Walt and Hobie are watching the first race at the race track, Walt says, "No! You did not bet on Bedazzler! That's a nine-to-one horse!" There then follows a scene of Melinda and Hobie talking, following by another scene of them watching a horse race with Walt, in which the dialogue track has been removed from underneath the musical score. However, if you look at Walt's lips during this second scene, he is clearly saying, once again, "No! You did not bet on Bedazzler! That's a nine-to-one horse!" See more »
I wish we could afford a place in the Hamptons. Everybody who's anybody has one.
Yeah, but if you're somebody who's nobody, it's no fun to be around anybody who's everybody.
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Don't be afraid of the multiple themes--- it is a comfort and a joy to watch. All Woody's past voices appear here. Overall, warm and wonderful!
Overall, 'Melinda nd Melinda' was a very nice movie. One can hear Woody Allen's voice strongly in the characters, as if he now has a newer, younger cast, replacing the old stand-bys in his ensemble. If you listen for it, you can see almost all of the characters echoing Woody's previous on-screen personalities. As examples, note the voice of many of the male actors, notably Will Ferrel's character. Close your eyes, squinch your ears, and it's Woddy doing his romantic nerd shtick.
The females seemed to be divided between the ghost of Mariel Hemingway, his drop-dead gorgeous ingénue from 1979's 'Manhattan', and Julie Kavner, a past Woody staple as well as the current voice of Marge Simpson. Radha Mitchell, the female who played the two Melindas, is both gorgeous, and eerily like a now-30-something Mariel Hemingway may be. Those observations are in no way criticisms. This is a worthy and watchable flick. One of the nicer things about it is the way it blends themes. As you have probably heard by now, there isn't much of a plot. Rather, it is two parallel versions of what might happen with one single lady-- Melinda. One version is 'romantic comedy', and the other is 'tragedy'. Neither is particularly funny or tragic, but the two thematic strains chorusing throughout make for an unexpected comfort and compelling story. I loved it! I gave it a 9 out of 10.
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