I’ve never been a big Woody Allen fan. But my appreciation for his filmmaking grew with last year’s amazing “Midnight in Paris”, a fantastic film that was wonderfully written, genuinely funny, and purely magical. Allen’s European tour continue’s with “To Rome With Love” yet another romantic comedy taking place in one of Europe’s most beautiful cities. “To Rome With Love” is a collage of individual stories about a number of different people and their relationships, their predicaments, and their quirks. It starts by capturing some of that same magic that made “Midnight in Paris” such a strong film but the second half of the movie runs off the rails and the result is an uneven and ultimately disappointing result.
The different unconnected stories battle for screen time and all start on the right track. In one, Haley (Allison Pill), an American tourist visiting Rome meets, falls in love with, and is soon engaged to a local hunk named Michelangelo (Flavio Parenti). After her parents fly over to meet his parents, her father (Woody Allen), who compares his recent retirement to a premature death, thinks his career is rejuvenated after discovering Michelangelo’s shower singing father (Fabio Armiliato). In another story, Roberto Benigni plays a mundane and predictable husband and father who suddenly becomes the object of immense fame and notoriety over nothing more than what type of underwear he wears and how he likes his toast.
In yet another story Alec Baldwin plays John, a middle-aged architect back in Rome visiting the neighborhood where he once lived as a young man. He bumps into Jack (Jesse Eisenberg), a young architect living in Rome with his girlfriend Sally (Greta Gerwig). Their relationship is strained when her best friend Monica (Ellen Paige) flies in to visit from the states. John follows Jack around everywhere sounding off warnings about his budding relationship with the flakey Monica. And then there are the reserved small-town newlyweds (Alessandro Tiberi and Alessandra Mastronardi) who arrive in Rome where the husband hopes to get a job from his wealthy family. Through several off-the-wall events, the two are separated in the city and each find their love for the other challenged by the people they meet including a prostitute played by Penelope Cruz. This was easily the weakest story of the four.
These four storylines stay within their own individual walls and they never intersect with each other. As I mentioned they each start strong and Allen packs a lot of good laughs particularly the first half of the movie. At first I really thought Allen was doing something clever and crafty with the four stories. The film addresses an interesting array of issues and the characters are actually quite intriguing up to a point. But things begin to slowly turn sour and not only does Allen’s story fly wildly out of control but many of his characters become pretty pathetic individuals who depict the movie’s warped and cynical view of love, devotion, and relationships. Several of the characters are faced with sexual temptations and ultimately fall prey to them, some with almost no meaningful struggle of conscience. Other storylines become preposterous which is ok if you’re going somewhere with it. And while I definitely laughed at some of the over-the-top gags, keeping my loosely attached interest intact hinged on the idea that Woody was doing more with these self-indulgent characters and outlandish situations than what we were seeing. As it turns out he really wasn’t.
As I’m sure you noticed, Allen still has a knack for attaching great talent to his productions. There’s not a bad performance in the entire film and the actors almost pull it off even when the material goes south. Woody Allen himself delivers some of the film’s biggest laughs while portraying the same neurotic and pessimistic character as in his other roles. Speaking of neurotic, but on a much smaller scale, I also really enjoyed Eisenberg’s performance as well. But the biggest star of the film may be the city of Rome itself. Allen truly has an affection for Rome and he goes to great lengths to show its history, beauty, and romantic charm. While Rome certainly doesn’t take on main character status as Paris did in “Midnight in Paris”, it’s still a key ingredient in giving the movie the romantic vibe its shooting for. In fact, for me the movie loses most of its sense of romance with the exception of the charming city that’s present in almost every scene. Even when I was growing detached from the stories, Allen’s camera would capture a location in Paris that sucked me back in.
“To Rome With Love” is truly a story of two halves. The first half of the movie was an absolute blast even though some of the four stories were more interesting than others. But in the second half of the movie I sat in the theater noticing that I hadn’t laughed in some time. As I slowly lost interest in the characters I began noticing that Allen really wasn’t going anywhere with the film. There’s no clever or memorable twist. It spits and sputters to its finale and by the end I was asking myself how Allen could have made two halves so totally different. I also wasn’t all that interested in Allen’s seemingly loose ideas of love, fidelity, and trustworthiness and in this case it hollowed out his characters with the exception of those in Haley and Michelangelo’s story. For some, the spectacular location and the number of funny moments will be enough to carry the picture. But for me it was terribly uneven and it ends up tearing down everything it itself creates. In fact, “To Rome With Love” feels like a film that needed another year of writing and production. The rushed results were nothing short of disappointing.
Considered an American movie classic, “To Kill a Mockingbird” is one of the best films to come out of the 1960’s and features what many consider to be Gregory Peck’s finest performance. It was nominated for eight Oscars, a winner of three, and was listed in The National Film Registry in 1995. In many ways “To Kill a Mockingbird” is a time capsule. Each time I watch it I’m transported back to a time that in many ways was kinder and gentler but not without its own open wounds. What’s most impressive is that it manages to do this without ever feeling unimportant or dated. It feels just as powerful and relevent now as it did when I first saw it.
At its core, “To Kill a Mockingbird” is about the loss of innocence. Eventually things unfold through the eyes of the children that reveals to them the darker and more troubling aspects to the world they live in. As the town begins to react to the alleged rape and the tensions leading up to the trial date rise, the kids see things that leave them confused and often times scared. The way director Robert Mulligan switches his camera to the children as they’re watching these harsh and disturbing things unfold is beautifully executed yet so heart-breaking. But yet it’s true and authentic. Unfortunately, as kids we’ve all had those moments. Moments when we realized that the world wasn’t just about tire swings and ice cream. Moments that we see the dark side of society and the people around us. But that’s also when the light shines the brightest and for these kids, their father Atticus was certainly a shining light.
Keith & the Movies 