With To Rome with Love Woody Allen puts another stamp in his filmmaking passport in a gorgeously shot homage to the art architecture and people of the historic city. Unfortunately the film's four story lines are not created equal; jam-packing the movie with so many characters leaves them all just a little underdeveloped. The most interesting is a blossoming love affair between Jack (Jesse Eisenberg) and his girlfriend's best friend Monica (Ellen Page). While his girlfriend Sally (Greta Gerwig) is given short shrift in this scenario the most entertaining part is the ongoing dialogue between Jack and John (Alec Baldwin) an architect who remains delightfully mysterious. Is he simply revisiting his past and advising a young man amid a position in which he himself once found himself or is it more literal? It's hard to say but his brusque advice — "Go ahead walk into the propeller" — is always as entertaining as it's true.
As far as the other plot threads go we have the inevitable culture clash between American and Italian future in-laws; Leopoldo (Roberto Benigni) a dorky normal guy who finds himself at the eye of an inexplicable media hurricane; and a newly married couple that get separated in the big city and end up learning all sorts of sexy lessons about themselves. Allen also wedges Penélope Cruz in as a prostitute who schools the young married man on the reality of the culture around him (turns out her clientele are just as if not more powerful than his uptight relatives who will determine the boy's professional future) . She's also there to wear a tight dress (Woody's yen for including random sex workers in his movies is well documented but remains baffling).
None of these characters is given enough screen time to be fleshed out which is frustrating as many (though not all) are quite interesting on their own and could even had their own feature-length stories. Instead of just one character who's acting as a proxy for Allen we get a dizzying array of them: Jack as the young and hungry Allen (Eisenberg's hyper-literate New York upbringing makes him a perfect surrogate); John as the middle-aged Allen full of regret and struck with Ozymandias melancholia in the face of such history; the young newlywed who has an opinion on everything; Leopoldo as the guy who finds the media attention aggravating and enjoyable in equal turns; Allen playing himself an older father who fears retirement just as much or more than he fears death. While it's an interesting idea in theory it's not handled dexterously enough to completely fit together.
To Rome With Love is a charming trifle that won't necessarily sate Woody fanatics but will please the Midnight in Paris crowd. It's still a better choice for theatergoers than plenty of other summer movie options.
The Tourist is about as difficult to get through as spotting the vowels in the name of its director. Florian Henckel von Donnersmark was last seen receiving a Best Foreign Film Oscar in 2007 for The Lives of Others which was about a couple living in East Berlin who were being monitored by the police of the German Democratic Republic. Its positive reception made way for the assumption that Donnersmark would continue to populate the USA with films of seemingly otherworldly and underrepresented themes. But his current project is saddening in its superficiality and total implausibility.
The film’s only real upside is its stars: two of our most prized Americans. Johnny Depp plays Frank Tupelo a math teacher from Wisconsin who travels to Europe after his wife leaves him presumably because of his weakness and simplicity. While en route to Venice he meets Elise Clifton-Ward (Angelina Jolie) who situates herself in his company after she receives a letter from her criminal lover Alexander Pearce (who stole some billions from a very wealthy Russian and the British government) with instructions to find someone on a train who looks like him and make the police believe that he is the real Alexander Pearce to throw the authorities and the Russians off his track. Elise picks Frank and after they are photographed kissing each other on the balcony of Elise’s hotel everyone begins to believe Frank is the real Pearce and so begins the chase.
While Donnersmark could not have picked two better looking people to film roaming around Venice his lack of faith in the audience is obvious. Every aspect of the characters is hammed up again and again as if Donnersmark felt burdened with the task of making us see his vision. Doubtful that we’re capable of getting to where he wants us he has crafted a movie completely devoid of subtlety. Elise’s strength and superiority over Frank are portrayed by close-ups and repeated instances of men burping up their lungs upon seeing her (as if her beauty is in any way subjective?). And in case we forgot that Frank is the victim in this story -- even though he’s been tricked chased and shot at - Donnersmark still felt the need to pin him with a lame electronic cigarette to puff on. Frank and Elise somehow manage to lack mystery even though we get very few factual details about each of them.
Nothing extraordinary comes to us in the way of the film’s structural elements either. There is very little of the action that The Tourist’s marketing led us to believe and the dialog is often painful. The plot itself is almost shockingly unbelievable especially when we’re asked to believe that Elise falls in love with Frank after a combination of kissing him once and her disclosed habit of swooning over men she only spent an hour with (yes that was on her CV).
The Tourist is rather empty and cosmetic. It’s worth seeing if you’re a superfan of Jolie or Depp but don’t expect to walk out of the theater with anything more than the stub you came in with.
In 1930 Mrs. Erlynne (Helen Hunt) an American socialite in search of debt relief and a fresh start transfers to Amalfi Italy. Her reputation as an indiscriminant adulterer comes along and she’s quickly the talk of the small town. Amidst her misadventures with married men she stumbles upon Robert (Mark Umbers) and Meg (Scarlett Johansson) a young blissfully married couple from America. Robert immediately strikes up a relationship with the older temptress and it’s immediately assumed by the resident paparazzi—a.k.a. citizens with binoculars and nothing better to do—that he is the latest prey. Meanwhile Mrs. Erlynne is being courted by another wealthier man named Tuppy (Tom Wilkinson) who can’t help but fall for her despite tepid interest on her end. When Meg learns of her husband’s rumored paramour she reacts hastily uncovering surprises that shock and affect all involved. The acting is where A Good Woman suffers. The female leads while both rightfully esteemed actresses are both miscast. Hunt’s Mrs. Erlynne has a world-wise and profound retort for every question thrown her way but her delivery just doesn’t fit her words; she seems uninspired but it’s much more likely her trying too hard. Johansson meanwhile is an anachronism in the film: She is an impossible sell for a reason having nothing to do with physical beauty or acting chops—she’s completely and simply at long last out of her element. But Wilkinson as always shines here as the pathetic yet adorable Tuppy. It’s perfectly plausible to see him in 1930s Italy—or any setting whatsoever. His eloquence befits the time and place and he makes his sad little man engaging funny and relatable even today. Director Mike Barker is charged with bringing A Good Woman adapted from Oscar Wilde’s play Lady Windermere’s Fan to the big screen. It’s a tall order to adapt someone as revered as Wilde especially on the heels of the widely lauded adaptation of Jane Austen’s Pride and Prejudice but Barker comes through for the most part. Luckily for him the lush mesmerizing scenery of the setting is at the forefront. And the director would’ve succeeded in transporting us back to the whole exotic pristine milieu had it not been for the aforementioned actresses’ inabilities to do the same. Nonetheless he holds up his end retelling a typically complex Wilde tale of love and narrow-mindedness without butchering or overstating the message.