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Vicky Cristina Barcelona
(2008)
I'll be honest from the outset and say that I am in at least two minds about this film. Firstly, being what I would like to imagine myself as a creative contemporary european, I baulk at the undeniably ham-fisted way that Woody Allen portrays the Mediterranean ideal. This is not credible from the eyes of anyone aside from Allen himself and those plaudits that will espouse and applaud practically anything he does, regardless of actual worth.
However, at least one other part of me was seduced by this film, despite it's almost xenophobic shortcomings, delivered as if to highlight the idiosyncrasies of the American ignorant. To label this as prosaic may be looking into it too deeply, but either Allen really knows his subject matter and his audience, or what is equally possible, he is abundantly and continually impervious to either.
This film, at its roots, is a story of individual and very personal satisfaction. It struck me on more than one occasion that neither Penélope Cruz nor especially Javier Bardem would go anywhere near this, presumably having read the script beforehand. They would have both known in advance that the image of Spain that this portrays is not one that any self-respecting Catalonian would recognise, far less appreciate. "I would have worked with Woody whatever the circumstances." Bardem makes his feelings quite clear on the subject and this blind-luvvy-back-slapping may be the real reason for his attendance. See the last sentence of paragraph one of this review.
What we're looking at here is a Woody Allen film. Let's not forget what this man is most famous for. Contemplative inner doubt, repressed emotion and a general feeling that whoever is involved, they may not be as understood as they personally feel they deserve to be. I will make no bones about the fact that his films are cathartic to many, but in order to present a cognitive representation of an ideal, it requires that the representation is consistent, which this film, at its core, is not.
Weighing in at a modest ninety-six minutes, which clearly makes light work of his characterisation, Allen deems to tell us that Vicky (Rebecca Hall) is anal, bored and overtly considered. He tells us that Cristina (Scarlett Johansson) is flighty, idealistic and predominantly naive, making a clear distinction between the two, but remains openly on the fence about his feelings about who is better off. As with his own personal fashion, he contemplates much, but finds little resolution in his admittedly sharp cerebral wanderings.
Juan Antonio (Bardem) is confident at the outset, but on reflection is as repressed, guilty and helpless, albeit lucky, as any man you could meet walking down the street. Here is a man with a defiantly alternate (not European, I should add) perception on reality. This is the man that feels it is fine and just to live with his girlfriend in a stucco covered house filled with terracotta pampering and move in his ex-wife just because she needs his help, regardless of the consequences. And here is the rub; any self-respecting 'artist' in this story would not be seen dead in one American director's dream of Mediterranean idealism—this would simply not suit him.
The film may very well portray a realistic reaction to an unusual personal circumstance on every part of what is ultimately a quadrangle of need and satisfaction, but it fails on almost every other level.
Allen's skill has never been in the telling of a story, but the feelings of its combined components and the same is true here. Granted, this is better than most of his previous recent work and of the three Johansson outings for him, this is easily the most intriguing. Both Match Point and the lesser known Scoop have only intimated at her place in the scheme of things. This piece makes very clear what he thinks of twenty-something travelling Americans. He does not rate them highly and he sees them as merely predictable flotsam that soaks up experiences offered to them in a most obvious way.
The film itself only really kicks into any kind of life when Juan Antonio's ex-wife, Maria Elena (Cruz), arrives, following a failed suicide attempt at the bus station. In what we can only understand as a purely European reaction to a life unrealised, she decides to end it all. This results in a reunion with Juan Antonio, much to Cristina's chagrin. I noticed that given Cristina's apparent carefree attitude to life, infidelity and all of the trappings of capitalism on which she has been raised, she is nonetheless keen to recommend psychiatric help for Maria Elena, rather than take on the task of curing the ex-wife herself. Maybe she is not the carefree, enlightened individual she believes herself to be. Later, we will see that this maybe truer that we at first imagined.
Performance wise, Bardem produces exactly what is asked of him, though I do not believe for a moment he believes in his own character at its heart. Being born in the Canaries, this is so far removed from reality, that he must now finally feel that he is truly part of the Hollywood jet-set and has almost sold his soul to act in a Woody Allen movie.
Rebecca Hall is the weakest of the highlighted cast but has a difficult role. I don't know the direction she has received, but to play the 'American abroad' with delusions of perfection in a world that does not recognise her understanding of reality is a tricky thing to pull off. Allen does not make this easy with his odd script for her. Vicky is a smart girl and it seems that to think she would dally with Juan Antonio is stretching credibility for the sake of entertainment.
Johansson is the most alluring of the ensemble and the most targetable. From European eyes, only a foolish American girl could be swayed into this predicament and Cristina is perfectly cast. Johansson has a persona of pretty girl with a vein of independence running through her and this emanates in her character. Of all the characters, Cristina seems to be the most lost, and whilst you pity her the most, you also admire the ability to let everything go and just see what happens, which is something that can only be understood by those of a certain age much younger than myself.
Finally, Penélope Cruz. She arrives in a storm a little more than half way through and dents the film in the most pleasing way. She is everything you expect the wife of an artist to be. She is both teacher and muse. Moreover, she is not shy about sharing this with anyone who cares to listen. It is easily understandable that Cristina feels inadequate around her. The forlorn and extricated ex-wife appears to be her perfect role.
In summary, Woody Allen appears to have directed something of an epiphany for some. This may come up in conversation as someone's favourite film in the pub one day. It will probably be a twenty-something female with delusions of stardom in a writing or artistic bent and be the inspiration for some misguided girl who may well be on their way to greater things. From this wizened perspective, however, it is predictable Allen fodder. Whilst it is undeniably better than most of his recent work that has attempted to garner a mass audience rather than critical acclaim, it does indeed entertain and does keep you sitting and watching.
I would be lying if I said that both Bardem and Cruz are not wasted here and equally that both deserve much better. Volver and No Country For Old Men have recently highlighted their individual skills to great effect and now they have done a 'Woody.' I hope they will move on to greater and more deserving projects.
-Steve Leadbetter
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Director:
Woody Allen
Writer: Woody Allen
Starring: Rebecca Hall, Scarlett Johansson, Javier Bardem, Penélope Cruz, Patricia Clarkson
Distributor: The Weinstein Company
Runtime: 96
min
Rating: PG-13
Release Date: August 15, 2008
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