Whatever Works Reviews

Even if I have lost faith a long time ago in Woody Allen, I still keep watching his new movies once in a while, for old times' sake. Some of them (a very few) get some good reviews but, in my opinion, he hasn't done anything really great for at least two decades. Anyway, this movie was a very average one, that's for sure. This time, Larry David plays the typical Woody Allen character but this version was even more obnoxious, vicious and mean than usual. At least, he was very funny and some of his dialogues were just hilarious which is something Woody Allen still can deliver. Unfortunately, I can't say the same about the other characters. Indeed, the character played by Evan Rachel Wood and her parents were just terrible. Indeed, I thought that Wood was really not convincing or maybe it was just that her character was just poorly written, I don't know. It was just striking that the main character was really interesting whereas this young girl was just some pathetic caricature. To make them a couple was also rather ridiculous as if Woody Allen still needs to believe that a 20 year old girl could still fall for someone like him. To conclude, in my opinion, it is one of the weakest movies directed by Woody Allen, even worse than 'Scoop' or 'Cassandra's dream', fortunately, Larry David made the whole thing watchable and I guess it is worth a look if you are die hard fan of Woody Allen's work but don't expect anything remotely amazing before watching the damned thing.

It wasn't until I got back home tonight from watching Woody Allen's latest film, Whatever Works, that I found out online that today is Larry David's birthday, so I guess the first appropriate thing to do in this review is to wish the comedian a happy birthday. I've had many a laugh thanks to both Seinfeld and Curb Your Enthusiasm, and he probably deserves most of the credit for that amusement. It's interesting that I just happened to go see Whatever Works on David's birthday, especially because, in the film, Allen employs the "Happy Birthday" song as a way to channel his well-documented hypochondria through the film's main character, who is played by David, and sings the song twice as a way to time himself while washing his hands.

During the movie's first scene the "fourth wall" of cinema is broken, as we get a monologue from David's character, the curmudgeonly Boris Yelnikoff, who we find out has the same nihilistic view on life that we've seen displayed so often by characters in Allen's films. The monologue goes on for way too long and the ideas become repetitive (you almost want to say "okay, we get it, you hate the human race"), but the good thing is that David oddly manages to be funnily charismatic as this crotchety character, so it makes the overlong tirades that Allen went on while writing the script feel bearable.

It all gets even more pleasant, though, when Evan Rachel Wood (one of today's best young actresses) graces the screen as blissful ignorance incarnate, Melodie. The juxtaposition of Boris' misanthropic and over-intellectual persona with Melodie's smiling southern charm is great. This is a case in which the two actors haven't exactly been provided with the best possible lines of dialogue by the script, but their interaction alone is enough to make the film engrossing. Not only is Wood's southern accent dead-on, but her performance is absolutely wonderful. She impressed last year in her (unfortunately) limited screen time in The Wrestler, and she was even more amazing in The Life Before Her Eyes. She has lighter material to work with in Whatever Works, but she still delivers full-force, and the character of Melodie alone would make for a good film. Once the character of Melodie's mother, Marietta (Patricia Clarkson), shows up about halfway through the film, we start seeing a little less of Melodie, which is a bit disappointing, though Patricia Clarkson certainly makes her character's hard-to-believe transformation at least enjoyable to watch.

Some will inevitably be turned off or outraged that the film depicts a relationship between a man as old as Boris and a woman as young as Melodie. They'll be even more incredulous (at least I was) as they watch Melodie reject the gorgeous (and much younger) Randy James (Henry Cavill) out of respect for her commitment to Boris. The good thing is, though, that the way things ULTIMATELY turn out makes a lot of sense and is pretty grounded in reality. Allen seems to make the point that three conservative, traditional southerners from Mississippi could come to New York and "find" themselves, discovering things they would've never expected they had in them. This may seem like a stretch, but Allen handles it with enough subtlety that it isn't insulting by any means. We even believe the realization that Melodie's father, John (Ed Begley Jr.), has towards the end (and the delivery of the line "God is gay" in this scene is absolutely hilarious). All in all, the film works as a whole because it ends on a surprisingly positive note in spite of the director's well-known pessimistic worldview, and the message that he's trying to get across here is far more accessible than what he tried to get across last year with the incredibly disappointing Vicky Cristina Barcelona, which posed as an exotic tale of romance but was really a prejudiced film that had little to say other than "Americans are boring and obsessed with technology, while Europeans are bohemian and fun."

The banter in Whatever Works is more smile-inducing than riotous (there are perhaps two or three truly laugh-out-loud moments), which is why this falls short of the greatness of the comedic triumphs that Allen gave us with Annie Hall and Crimes and Misdemeanors, despite the fact that rumor has it that the script for Whatever Works was actually written around the time that those two films came out, and Allen just never got around to filming it till now. While the director's recent success with the amazing Match Point remains, well, unmatched by the other films he has given us during this decade, Whatever Works is evidence that he can still turn in quality cinema.

Woody Allen is obsessed over the same subjects as usual. But always with the touch and view from a creative genious.

People talking in a bar about life, people and relationships. I've seen this before.

I liked the way he guides the movie to present his ideas. Even Boris, who speaks directly with the public watching the movies, doesn't do that just because it's fun. He does that to explain a concept.

Well, I liked the way he shows that people change. Specially, the way a big city changes people and often broadens their mind.

He caused a nice shock when Melody's mother became an artist who lived with two men. But when her father uncovered his homossexuality I found it too exaggerated. That fact alone would be ok but, regarding that we had just had a nice shock with the mother, this second event was just cliche. It looked like Allen had been watching Almodovar - who is a nice director but often exceeds the point of good art.

It could seem that the relationship between Melody and Boris would be totally absurd. Well, it was not. Altough she had no inteligence at all, she had curiosity and respect. That was enough for him. Now he could freely talk about whatever he wanted and she would be interested and trying to learn something. Not only in a passive way, but also trying to infere new ideas and use the base he gave her to figure out new things. That's something amazing. Allen uses such an unintelligent person to show the importance of curiosity over knowledge and even inteligence.

Woody Allen is obsessed over the same subjects as usual.

Em seu retorno a Nova Iorque, Woody Allen também retoma seu facsímile no centro da trama com o protagonista deliberadamente alegórico, um físico teórico divorciado após uma frustrada tentativa de suicídio. Boris Yellnikoff entoa as predileções narcisistas do diretor, como a superioridade de Fred Astaire e Beethoven ao barulhento rock moderno; encarna forçosos maneirismos e divaga para a câmera acerca da estupidez humana ostentando um já batido comportamento antipático e pessimista de uma figura recém saída de tirinha de jornal, como quando se dirige as crianças, seus alunos de xadrez, como amadores cretinos ou zumbis imbecis.

Para personificar seus performáticos solilóquios acerca da casualidade e entropia do cosmos, há outra manobra de Allen ao evocar o ethos do personagem do mesmo Larry David na série Curb Your Enthusiasm, que tem a oferecer “mau humor, hipocondria, mórbidas fixações, raiva recalcada e misantropia” a jovem loira sulista Melody Celestino (Sra Marylin Manson) fugida para a Grande Maçã e encanta-se pelos discursos de uma persona quase indicada ao Nobel.

A orquestra de esteriótipos e clichês funciona com ocasionais boas linhas na dinâmica do improvável casal até que a mãe e pai de Melody apareçam e sejam instantaneamente reformados pela metrópole, de senhora alcoólatra e crente abandonada pelo marido à artista modernosa num relacionamento a três com outros dois intelectuais amigos de seu esclerótico genro, que, ainda que genioso (e genial?), não impede que ela ssuma uma missão cupido para a filha com um jovem e atraente aspirante a ator.

Whatever Works(2009), escrito na mesma época de Annie Hall, um roteiro pronto acrescido de uma ou outra referência do século vinte e um, resgata a condição irascível do rabugento que habita a alma de Allen e dominou seus protagonistas no início da carreira. Há um re-uso desta fórmula inicial, o que pode dar certo para os saudosos aficionados por sua Nova York alteregóica, diferente dos que valorizam uma evolução narrativa com a austera sofisticação de Match Point(2005) e Cassandra’s Dream(2007) ou a sensualidade sem fadatismo de Vicky Cristina(2008).

"Whatever love you can get and give. Whatever happiness you can provide. Every temporary measure of grace. Whatever works."

"Vintage Woody Allen" would be the most appropriate label for 2009's Whatever Works, because that's never been truer. Woody initially wrote this film back in 1977 as a vehicle for Zero Mostel, but the screenplay was set aside when Mostel inconsiderably died before the film could be made. However when Woody's one-movie-a-year output was placed in jeopardy by a threatened actor's strike and he needed a movie ready to go sooner than usual, he resurrected the old script and gave it a quick rewrite. Whatever Works marks the writer-director's return to New York City following several filmmaking endeavours in Europe, and it features a number of his touchstones: the philosophising of Annie Hall, the misanthropy of Deconstructing Harry, and the customary old man/young lover theme present in a lot of Woody's prior films. A familiarity that clouds the entire enterprise notwithstanding, this typically Woody-esque, comical mediation on human existence and love is the filmmaker's most effective and hilarious comedy in years (the fact that Woody wrote this film around the same time as Annie Hall probably has something to do with that).

Whatever Works opens brilliantly with Boris Yellnikoff (David) breaking the fourth wall (a typical Woody Allen technique) as he addresses the camera to introduce his narrative. However this isn't an aside; Boris is doing it in the middle of New York City in full view of bystanders. His friends think he has utterly lost it, especially when he explains that they are in fact being watched by thousands of people in theatres. This technique begins the film with an easy charm; a sly smile in the audience's direction.
Boris is an adamant misanthropist who bad-mouths children, shows little patience for anyone, and even insults the most inoffensive individuals who cross his path (perceiving them as imbecilic simpletons of inferior intellect). He also impresses his ideologies on religion, relationships and the randomness of existence upon anyone willing to listen. But when Boris begrudgingly allows naïve Mississippi runaway Melodie St. Ann Celestine (Wood) into his apartment, his reclusive rage gives way to an unlikely friendship.

Amidst this narrative, there are talky conversations at landmarks and outdoor cafés; all taking place in the New York City that Woody Allen has celebrated throughout his career. The time of separation away from his native Manhattan (during which he worked in London and Spain) has reinvigorated his work - there's a great sense of liveliness and spirit. It's a joy to see the filmmaker back in this territory. However, Whatever Works is far from flawless - in between the one-liners and witty dialogue, the narrative odds and ends of the film feel perfunctory, even resigned. The second half of the movie (full of reunions and subplots to extend the runtime) isn't as well-paced as the blisteringly hilarious, rapid-fire first half. In addition, the movie's philosophy may be about life being full of surprises, but Allen's recent output is only rarely surprising. Whatever Works reinforces the notion that the writer-director's creative well has run dry; his films now either spectacles featuring attractive characters in foreign locales (like 2008's Vicky Cristina Barcelona) or comedic larks in which notable names embody the archetypal Woody Allen role. These criticisms notwithstanding, his latest efforts are still entertaining, and with the comfortable space he's created for himself he can just get on with being Woody Allen without fretting (ironically).

Interestingly, the three decades have been kind to Woody's script for Whatever Works. It's just as funny - maybe even funnier - as it would've been back in 1977, and it feels more audacious and relevant in 2009. As a matter of fact, much of what makes the film seem daring is as a result of the passage of time. The elements guaranteed to startle in 2009 - a ménage à trois, a homosexual awakening, the generally irreligious tone - would be far less shocking to a '70s audience. The fact that Allen presents these in a matter-of-fact, offhanded manner reflects the earlier era, making them more provocative all these decades later. Since Whatever Works is a dosage of old-school Allen, the dialogue is boundlessly witty and there are some killer one-liners. Boris' diatribes are hysterical; the best Woody has written for years (once again coming back to the fact that the material was written in the '70s). Probably the most note-worthy aspect of Whatever Works is that it's one of Allen's most optimistic films about life and love to date.

Curb Your Enthusiasm comedian Larry David is an excellent Boris Yellnikoff. David was a natural to play the "Woody Allen role", and he handles himself excellently; making his character appealing and tolerable without diluting his nasty side. According to Allen, Boris is an extreme exaggeration of his feelings - to that end, David's gleeful portrayal of the unyielding misanthrope is more savage and belligerent than Woody has even been. Boris' omnipotent contempt is nothing new, but the mean-spirited ferocity is. The 74-year-old Allen could have probably pulled off the character, yet it still works with a surrogate. As a side note, there are lines delivered by Larry David that Zero Mostel might have gotten more comedic mileage out of.
David receives solid support from Evan Rachel Wood (previously seen in 2008's The Wrestler), who manages to make her role of Melodie dopey and callow but not grating or obvious. The actress disappears into the role of the Southern dumbbell to the extent that she's almost unrecognisable. Patricia Clarkson (who starred in Woody's 2008 project Vicky Cristina Barcelona) shines as Marietta, while Ed Begley Jr. and Henry Cavill fulfil their functions in the story terrifically.

Curiously, the predominantly negative reviews for Whatever Works gripe about the fact that Boris is "too unlikeable" or "unsympathetic". These critics are missing the point entirely. It's no accident that (as the familiar old record for the opening credits) Allen chose Groucho Marx singing Hello, I Must Be Going; the character of Boris Yellnikoff is the same type of sharp-witted, bitter grouser that Groucho used to portray. Despite this, Groucho was a comedian and, as often noted, a huge influence on Allen. Did anyone complain about Groucho playing a quick-witted con man who insulted everyone in sight? No, because he was funny. So is Boris Yellnikoff. So is Whatever Works to a tremendous degree. While a viewer may be left with a lingering sense of déjà vu during the movie, this is a fun and funny sit-down; a nourishing dose of old-school Woody Allen ladled on top of a New York that, after all these years, still needs him.

7.8/10