Set this time in England, Woody Allen once again invites us into a world of irony and people wanting 'better' than what they have as their present does not fulfill their satisfaction. The title is quite open to interpretation. It gives the impression of 'the prince charming' that straight women fantasize about and dream to end up with. However, there is also another hint which refers to the chaperon who is waiting at the finish line. Rather than exploring, this time Allen just gives us a glimpse into the lives of his key characters. All the characters are in an unfulfilling relationship. Helena (Gemma Jones) is abandoned by Alfie (Anthony Hopkins) and seeks comfort in a prostitute (Lucy Punch) younger than his own daughter. His daughter Sally (Naomi Watts) fantasizes about her boss (Antonio Banderas) while her husband (Josh Brolin) struggles to finish his novel until he peeps at Dia (Frieda Pinto), his neighbour.
While many felt the ending to be abrupt, there is a certain irony to it, where the characters who were seeking more than what they had continue to be unsatisfied, while those who were satisfied with what they had and lose it, find that happiness again (like the two idiots at the end). Allen's writing is faulty in places. For example, when Roy reveals to Dia how he had been peeping at her through their windows, instead of being concerned or excited, she acts as though his behaviour was that of a gentleman.
On the technical side, the film is well shot, in the typical Woody Allen (70s and 80s) fashion. The cinematography and soundtrack are amusing. The sets look polished but not staged.
Allen assembles a strong cast. Most of the performances are excellent. Anthony Hopkins, Gemma Jones, Naomi Watts and Lucy Punch own their scenes. Antonio Banderas too shines in a subtle performance and Josh Brolin is great as the self-centered writer. Freida Pinto was the weakest link. In all fairness, her character suffered from flawed writing.
While this may not rank among Allen's best work, it's still worth a watch especially for those who enjoyed the kind of cinema he made in the 70s and 80s.
While many felt the ending to be abrupt, there is a certain irony to it, where the characters who were seeking more than what they had continue to be unsatisfied, while those who were satisfied with what they had and lose it, find that happiness again (like the two idiots at the end). Allen's writing is faulty in places. For example, when Roy reveals to Dia how he had been peeping at her through their windows, instead of being concerned or excited, she acts as though his behaviour was that of a gentleman.
On the technical side, the film is well shot, in the typical Woody Allen (70s and 80s) fashion. The cinematography and soundtrack are amusing. The sets look polished but not staged.
Allen assembles a strong cast. Most of the performances are excellent. Anthony Hopkins, Gemma Jones, Naomi Watts and Lucy Punch own their scenes. Antonio Banderas too shines in a subtle performance and Josh Brolin is great as the self-centered writer. Freida Pinto was the weakest link. In all fairness, her character suffered from flawed writing.
While this may not rank among Allen's best work, it's still worth a watch especially for those who enjoyed the kind of cinema he made in the 70s and 80s.