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
The role of Boris Yelnikoff was original written for Zero Mostel. After Mostel's death in 1977, Woody Allen set the screenplay aside. However, with a potential actor's strike during 2008-9, Allen chose this old screenplay to be his next film. Furthermore, Mostel and Larry David both played the role of Max Bialistock: Mostel in The Producers (1967) and David in the play within a show representing the main story arc from Season 4 of Curb Your Enthusiasm (2000). See more »
Near the beginning of the film, when Boris is talking with his wife Jessica, the position of Jessica's arms keeps changing from shot to shot. 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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Well, my first review for the IMDb. I picked one that I thought I was not going to like, but I like Woody Allen, so I gave it a shot.
I thought I would not like Whatever Works, because I read and heard some of the critics' negative reviews.
So, the first ten to fifteen minutes or so into the movie, I'm thinking that Larry David is better at improvising, as on his own show, than doing someone else's lines, albeit Woody Allen's.
But then, as usually is the case with Mr. Allen;s movies, I got hooked half way through. I got hooked because it was very well done. The story, the direction, the acting - yes, Larry David was perfect for this. It was a risky casting move on Mr. Allen's part, but it worked beautifully.
I like it also because Mr. Allen interjects philosophy in all of his movies. He courageously exposes himself, allows us to hear his thoughts and does these things by seducing us with entertainment.
The only thing I wasn't crazy about was the sort of "tying up" philosophy about how we should go with whatever works. Such a happy ending. Why?
That said, id didn't interfere with my overall appreciation of the movie.
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