He has 80 years but can not even believe it. Sit young. Eat well, you exercise, the parents died almost centenarian, is it in the genes. But he says he knows that may one day wake up in a wheelchair and then someone will say, “Look, that there was Woody Allen, made films.” In the meantime, and as you continue to give money, he continues. Look, this was Woody Allen to speak on Wednesday in Cannes, continues to make movies (has been prolific, almost one per year in the last four decades) and was the last, his 46 Coffee Society, at the opening (out of competition) of the 69th edition of the festival.
This is the third time the festival chooses to open after Hollywood Ending ( 2002) and Midnight in Paris (2011) – considered one of the most successful curtain rises at the festival – if you do not count New York Stories ( 1989), which was collective film, directed by Allen, Francis Coppola and Martin Scorsese. But Woody was released on the Croisette in 1979 in competition with the glorious Manhattan . It will be unfair comparison, but here goes: if we think the fire firework that swept us to the spectacle of a world in expansion, it is as if we had the privilege of watching a phenomenon happening live (it happens every time to review Manhattan ), but Cafe Society is not more than a forgettable thumbnail.
Although this is not wheelchair stage and has even some “first times” (the first time that Woody films in digital and working with director of photography Vittorio Storaro, even after they had “crossed” in the New York Stories , which thus joins the bouquet alleniano where already Gordon Willis, Carlo di Palma and Sven Nykvist …), the relationship that we have today with the director of the film is pure loss. It hurts, for example, read an interview (to Hollywood Reporter ) that in six or eight films that he does not “erase” his work would be The Purple Rose of Cairo , Match Point , Husbands and Wives , “probably” Zelig , “probably” Midnight in Paris , but not Manhattan , or even Annie Hall , films that he says do not “remember very well.”
But these are precisely the “our” because they are those who have made our lives. But there is much that Allen is another, with breath to little more than the sticker decidedly have no patience for the Big Bang . (It is as if, in fact, the film him if he had forgotten something.) What is even more disconcerting as promised in its intentions, a film that would expand like a novel (it’s his voice that tells, incidentally) from the main character played by Jesse Eisenberg. a young man who leaves for Hollywood in search of adventure and money, which makes learning and has a loving disappointment with the meeting with Kristen Stewart
So , Cafe Society move would between New York and Hollywood (ie in 1930), a coming and going would always be to be fed by the stories of Jewish family Eisenberg (yes, double again Allen is already routine) and its neighborhood with the world of crime, the stories of glamorous stars and its neighborhood with the deception and disappointment in Los Angeles, and due to the return of Eisenberg’s character to New York, where It reinvents itself, with the refined and cosmopolitan microcosm that there is created in the first half of the twentieth century. But instead of a moving film, Cafe Society is allowed to terminate the jokes in alleniano skepticism versions that may even drop laughter ( “life is a comedy written by a sadistic author of comedies” ) but that sound comedian routine, and name dropping illustrative – which helps to set the film in the format of the situation comedy with nostalgic tone background, yes, but no more than collection variations of what we already know.
All of these reasons are valid to explain the choice of Cafe Society as the opening film. In 2015, developers wanted to make gala with a film that did not look like an opening film, La Tête Haute , Emmanuelle Bercot in the social film territories. The results were not as expected, the reception was quite mitigated – or served pure and simple spectacle not had the consistency and strength of the film “author”. A festival that lives, necessary and contradictorily, the balance between frivolity and the possibilities of the art of light, Woody Allen’s territory (re) known.
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