Mainly of interest to Allen fans, I would think. The witty dialogue is here in spades, but the story is terribly uneven.
Several commentators have complained about the mystical element in the script. It does seem a little out-of-left-field, I must admit. But I think it works thematically a lot better than it works structurally. Consider the arc that Leopold moves through during the film. Andrew's "magic ball" is an absolutely essential element of that arc. And since the film is in some ways about the magic aspects of love in a country setting (as compared to "Manhattan", which presents a very cynical version of love in the city), some flights of fantasy are not inappropriate.
So, taking this theme of love as magic, Woody gives us a character who stands in direct opposition to the very idea of any sort of "unseen" world. He is a strict rationalist (actually, in philosophical terms, "empiricist" is a better word). The events of the film force him to confront a side of the world he's never admitted existed, and quite rightly, thematically speaking, he ends up being the most changed by the experience of any of the characters. He goes from one end of the spectrum to the other, literally becoming one of the spirits in whose existence he never believed.
And it isn't just some arbitrary sideline which detracts from the main romantic plot, either. It's really essential to the very core of the film that this character be present, and go on this journey. It's also a very clever way of ensuring that the real-world seriousness of death and love never impinges on the highly crafted tone of light comedy.
Unfortunately, for someone not expecting it (as I wasn't), the elements of fantasy don't seem to sit very comfortably in the film, which results in a very strange, awkward viewing experience. Still, a fine film, and very funny. If you like Woody Allen in general, I don't see why you wouldn't like this.
And Mia Farrow is delightful, and lovely, in her first visit to the Allen milieu.
Several commentators have complained about the mystical element in the script. It does seem a little out-of-left-field, I must admit. But I think it works thematically a lot better than it works structurally. Consider the arc that Leopold moves through during the film. Andrew's "magic ball" is an absolutely essential element of that arc. And since the film is in some ways about the magic aspects of love in a country setting (as compared to "Manhattan", which presents a very cynical version of love in the city), some flights of fantasy are not inappropriate.
So, taking this theme of love as magic, Woody gives us a character who stands in direct opposition to the very idea of any sort of "unseen" world. He is a strict rationalist (actually, in philosophical terms, "empiricist" is a better word). The events of the film force him to confront a side of the world he's never admitted existed, and quite rightly, thematically speaking, he ends up being the most changed by the experience of any of the characters. He goes from one end of the spectrum to the other, literally becoming one of the spirits in whose existence he never believed.
And it isn't just some arbitrary sideline which detracts from the main romantic plot, either. It's really essential to the very core of the film that this character be present, and go on this journey. It's also a very clever way of ensuring that the real-world seriousness of death and love never impinges on the highly crafted tone of light comedy.
Unfortunately, for someone not expecting it (as I wasn't), the elements of fantasy don't seem to sit very comfortably in the film, which results in a very strange, awkward viewing experience. Still, a fine film, and very funny. If you like Woody Allen in general, I don't see why you wouldn't like this.
And Mia Farrow is delightful, and lovely, in her first visit to the Allen milieu.