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“In the United States things have changed a lot, and it’s hard to effect excellent runt films now. The avaricious studios couldn’t care less about great films.”–Woody Allen.
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Woody Allen has said that European audiences are more receptive to his films these days than American audiences. Vicky Cristina Barcelona (2008) is his fourth European movie, and in many ways his most French film yet. Location in Avilés, Barcelona, and Oviedo, Vicky Cristina Barcelona follows Allen’s London films, Match Point (2005), Scoop (2006), and Cassandra’s Dream (2007) . It stars Scarlett Johansson (Lost in Translation), Javier Bardem (No Country for Conventional Men), Patricia Clarkson, and Penélope Cruz (Volver), and tells the record of a lovers’ threesome. Shortly after arriving in Barcelona on vacation, two young American women in their 20s, Vicky (Rebecca Hall) and Cristina (Johansson), are invited by a smooth-talking artist, Juan Antonio (Javier Bardem) to employ a weekend in Oviedo, drinking wine and making appreciate with him. Because she is engaged to be married, pragmatic Vicky is reluctant at first. Cristina, however, is launch to the seduction. The two women secure Juan Antonio’s proposal, and accompany him to Oviedo, where they soon study the painter has a thing for his glorious, but emotionally unstable estranged-wife, María Elena (Cruz) . After Juan and Vicky drink wine and do fancy, Cristina, Juan, and María Elena soon regain themselves living together. It becomes evident to Cristina that Juan Antonio and María Elena are unexcited madly in savor with each other. Bardem and Cruz bring a chemistry to the veil that sizzles. Ultimately, the film then becomes a intriguing Woody Allen meets Éric Rohmer (Eric Rohmer’s Six Accurate Tales - Criterion Collection) meets Pedro Almodóvar (Volver) exploration of the dynamics of this sexually free-spirited lovers’ threesome, contrasted by Vicky’s more passe relationship with her stupid, Fresh York buttoned-down admire interest, Doug (Chris Messina) . Unbiased as Manhattan was central to Manhattan, Barcelona features prominantly in Vicky Cristina Barcelona, especially Gaudí’s Park Güell. Powerful like a well-behaved French film, this quick-witted movie ends on a price that is both poignant and sunless, with everyone a tiny wiser in the ruin. Once the celluloid admire poet of Manhattan, with Vicky Cristina Barcelona Allen reveals he is considerable wiser now when it comes to the ways of the heart. It is “a very sunless film” (as Allen calls it) only because of the message it sends about relationships. Some couples decide for convention rather than the madness of staunch cherish. Others, like Juan Antonio and Maria Elena, experience staunch adore with the level of chemistry we might call “soulmates,” only to catch they cannot live together. To utilize an archaic cliche, Juan Antonio can’t live with Maria Elena, but can’t live without her. Allen seems to suggest that all we can really hope for in the extinguish, after stumbling around in any relationship, is a petite wisdom. Dare I say that this is Woody Allen’s best work since Hannah and Her Sisters? Unlike that film, however, this is a really fine film Allen could have never made in Hollywood, which generally prefers feel-good esteem stories with happily-ever-after endings.
12/05/08 Update: Vicky Cristina Barcelona, Jarvier Bardem, Rebecca Hall, and Penélope Cruz all received nods for Golden Globe Awards this week.
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G. Merritt
In “Vicky Cristina Barcelona,” Woody Allen begs to contradict another pundit of his age, Mick Jagger. Woody demonstrates in his latest movie that you can’t EVER score what you want, and you also can’t derive what you need. He demonstrates this in the tale of how Vicky (Rebecca Hall) and Cristina (Scarlett Johansson), two exquisite young Americans staying in Barcelona for a few months, react to the romantic overtures of the dashing, primally sexy artist Juan Antonio (Javier Bardem) . Vicky–a master’s candidate in “Catalan identity,” although she is not Catalan and barely speaks Catalan or even Spanish–finds that sex with Juan Antonio shakes up her previously solid feelings for her dullish American fiance, Doug (Chris Messina) . Cristina–a dilettantish photographer/filmmaker who is defined by the fact that she only knows what she DOESN’T want in a relationship with a man–finds greater satisfaction with Juan Antonio, at least until Maria Elena (Penelope Cruz), Juan Antonio’s volatile, insanely jealous ex-wife, shows up.
Some critics have opined that “Vicky Cristina Barcelona” is a hackneyed blast at naive Americans left at sea by European sexual sophistication. However, I deem it’s more a delineation of Woody’s basic understanding that happiness in savor is transitory at best. How can you possibly acquire up Juan Antonio and Maria Elena–who are constantly at each other’s throats, to the point that Maria Elena brandishes knives and guns–as an example of sexual sophistication? They can’t live with each other, they can’t live without each other, but she may ruin up killing him, herself, and a few innocent bystanders. As enacted in a scintillating performance by Cruz, Maria Elena embodies the eternal irrationality of admire, a blind craziness that–at least in Woody’s view–stamps an irrevocable expiration date on even the tenderest, most ardent appreciate.
Not quite a comedy but certainly not a tragedy, “Vicky Cristina Barcelona” is a rueful commentary on the constant dissatisfactions of appreciate and life, made all the more bittersweet by the heartbreakingly stunning scenes of Barcelona and Catalunya wrapped in golden light by photographer Javier Aguirresarobe. The film offers us multiple pleasures–not least the favorable performances–yet, in the destroy, it feels exiguous. There are too many of Woody’s familiar tropes for us to recall the film at face value, especially the overly familiar characters; personally, I’m tired of the elegant, nubile young “Woody women” who are drawn vaguely toward a career in the arts yet are completely confused about everything except their need for hot sex. And, yes, Woody, we got the point decades ago that you contemplate life and the Universe meaningless; why do you always have to have one character in every movie (in this case, Juan Antonio) narrate that concept baldly? “Vicky Cristina Barcelona” is worth seeing, but it falls short of being one of Woody’s masterpieces.
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