Penélope Cruz

Rating: 8/10 (4 July 2010)

There are about a handful of film-makers whose influence on their films is unmistakable. Woody Allen defines this group and among Americans, only Martin Scorsese's influence is as pervading. This makes it hard to speak about Allen's films without his views on life, death and relationships getting more than a passing mention. Having seen only one prior to Vicky Cristina (Annie Hall), I'll stay away from reflections on that. A few things struck me. One of them was the way Barcelona was shot (Vicky is seduced by Barça, Juan Antonio is representative of the moods the city brings out in her). Excuse the digression, but Spanish Guitar ! How convenient ! The cinematographer (a chap with a wonderfully cinematic name Javier Aguirresarobe) and Allen capture, not merely the sights of Barcelona, but also the charming homes (villas had to be a Spanish term), cafés and cobbled, undulating roads. It feels as if Barca is both seductress and seduced. All the characters in the film are in love with it and the resultant effect on the viewer is a seduction that lasts about hundred minutes.
The other seduction was Penélope Cruz. She does a Maria Elena that nearly overshadows everything else about the film. It is in Allen's understanding of what her character signifies to the trio that this is avoided. Her portrayal is more poetry than prose. The beauty, grace and poise of it is bewitching which makes the irrationality of her condition vexing, and annotates our interest in her character. If Spain is anything like Maria Elena, then it is worth savouring. Javier Bardem's Juan Antonio is the bedrock of the film. The only way in which I can say anything about the performance is in the assurance of his juggling act.
Strangely, some of the film's pitfalls lie with Vicky and Cristina. Where there ought to be shades, Allen gives us diametric opposites. This, for me, is an easy way out on the part of film-makers. I guess it makes the character scripting process all the more easier. Despite that the contrasts are a little too gaudy here and muted colours could've given scope for multiple viewings. The real issue is in its germination to the voice over which, plainly put, should've been scrapped. It robs the film of a subtle touch, or a hidden hand rather. Ultimately, the performances from Rebecca Hall and Scarlett Johansson hold our attention and keep it from straying too much. Rebecca Hall, in particular, is every bit the revelation that people have made her out to be.