Allen Finds His Romantic and Artistic Muse in Spain with a Sharp, Eclectic Cast

Rating: 8/10 (25 August 2008)

From a thematic standpoint, Woody Allen's latest film offers nothing we haven't already seen in his earlier work like "Manhattan" and "Hannah and Her Sisters". Like those classics and several lesser efforts, this 2008 romantic dramedy is a distilled examination of why men and women long for romance and how we fluidly fall in and out of love as a result, often with dire consequences and not without personal humiliation. What makes this entry particularly welcome is the full-blooded infusion of Spanish art and architecture that brings an emotional ripeness to the story. It also helps that Allen has gathered a more eclectic cast than usual to inhabit the richly developed characters. This is easily the most enjoyable film he has made since going abroad and probably his funniest since at least 2000's "Small Time Crooks".
The plot focuses on two American college friends, polar opposites on the subject of love, as they vacation in Barcelona for the summer. As the conservative one who values stability and devotion, Vicky is there to study "Catalan Identity" as she waits to return to the states to marry Doug, an ambitious young man who maps out their future with a stifling lack of spontaneity. Failed filmmaker Cristina, on the other hand, is a romantic adventurer who craves unbridled passion with no limits. Their differing perspectives on love clash immediately when they both catch the eye of renowned abstract painter Juan Antonio. He makes a supremely self-confident proposition to Vicky and Cristina to join him on a romantic weekend trip to Oviedo, a picturesque town near the northern coast. Naturally, Vicky is appalled and makes no bones in telling him so, but Cristina is excited by the idea of being seduced by him. They agree to go with him and face unexpected consequences. Things get even more complicated when Juan Antonio's tempestuous ex-wife Maria Elena shows up and forces him to face his weaknesses.
Part of the resulting roundelay feels like a throwback to Allen's "A Midsummer Night's Sex Comedy", but there is also a palpable sense of melancholy more reminiscent of his mid-period films like "Crimes and Misdemeanors" and "Husbands and Wives". What remains consistent throughout is the filmmaker's incurable romanticism, a freshly optimistic viewpoint that makes the film thoroughly pleasurable despite the familiar set-up. The performances are terrific beginning with Rebecca Hall, a surprising find as Vicky, a young woman who thought she knew what she wanted only to find out too late that it's not what she wants at all. As a typical Allen heroine, Hall lets her initially strident manner as Vicky give way to a resonating sadness. As for Scarlett Johansson, the third time's definitely a charm. In "Match Point", Allen exploited her effortless sensuality, while he tried to make her a fumbling Diane Keaton copy in "Scoop". As Cristina, however, she gets to blend together her carnal allure and comic insecurity in a more seamless fashion. She has a wonderfully funny moment when she just can't control her titillation at Juan Antonio's proposal in the restaurant.
For those who have only recently been introduced to his mesmerizing work by way of his maniacal killer in the Coen Brothers' "No Country for Old Men", Javier Bardem is completely convincing as Juan Antonio, a man who effortlessly controls the fates of the three women enraptured by his sensual manner and open soul. Unlike a shallower actor like Antonio Banderas, Bardem manages to move between smoldering and vulnerable with fluency. As Maria Elena, Penélope Cruz finally comes into her own in a non-Almodóvar film. Taking the concept of a tortured artist to an extreme, the actress blazes with dangerous vitality, even though the role is relatively minor. She brings visceral life to the combative relationship between her and Juan Antonio, and at the same time, displays a sharp Allenesque wit, especially when she slyly ridicules Cristina in Spanish during their tension-filled conversations. The always-reliable Patricia Clarkson is quietly effective as a family friend of Vicki's with secrets of her own, while Chris Messina conveys the right level of unctuous smarminess as Doug.
The film is beautiful to look at thanks to the luscious, sun-dappled cinematography by Javier Aguirresarobe. With Gaudi's most famous work on display, Barcelona could hardly look more appealing on film. Just as evocative is the atmospheric music by a bevy of contemporary Spanish composers. The one aspect that doesn't work quite as well as intended is Christopher Evan Welch's stentorian narration, which lacks the right level of irony to make the ploy worthwhile. Most of the time, it comes across as a conceit to explain parts of the narrative that seem clear enough from the scenes. Regardless, this is a genuine return to form for Allen and well worth seeing for fans.