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Cafe Society

07 Sep

Café Society written and directed by Woody Allen. Romantic Dramedy. 96 minutes Color 2016

★★★★

The Story: In 1934, a young man leaves his NYC family to work for a big-time Hollywood agent and to fall in love with the great man’s secretary.

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Steve Carell continues to be new to me. He is faster than the script of Woody Allen, and whenever he comes on, the screen saturates with something happening.

Take a gander at the look in Carell’s eye when after two years he sees his former rival for the young woman Carell has married. “See! See! See what I’ve got! What you don’t have!” the glint in his eye says. “I won. You didn’t.” it says. So we are in the pleasure of witnessing an actor of imagination. And we are also in the pleasure of the only actor who is sharp enough to take his character to a depth beneath the facetious on which all the other players are stranded. Carell’s playing cuts through to an actual human being under the quips, jests, comic verbal and plot situations, and beneath the satire in which it is almost impossible for the other actors not to be captured and stalled.

For Allen’s script does not pass beyond the ceaseless twitches of his jokes. His jokes never stop. And the terrible thing about his jokes is that they are laugh lines intended to generate no laughs, because they are actually lines of comedy of character not comedy of gags. But here Allen makes characters only for satire. He is in a frenzy of satire. This frenzy makes for monotonous company after a time, just as, after fifty years, Woody Allen’s wishful nebbish is monotonous.

Alas, because here we have a great love story – but with no depth, and a lyricism talked about but never heard, except on the impeccable sound track, where Larry Hart’s mordant lyrics supply the deficiency. Here we have a version of Romeo and Juliet in which Juliet marries Paris and Romeo marries Rosaline. What then happens to poor Romeo or poor Juliet, when they still love one another all the time?

Because of the consistent jocular style, no growth is possible with the dialogue. Nothing can happen but the next jest, nothing can get beneath it the next comic stammer. The drama drowns in a monotony of wit.

The promise of this material goes unexplored also because of the casting of the two young people. Because of his terrible carriage, I have a hard time looking at Jesse Eisenberg. I suppose he can’t help it, but neither can I. He also falls into the film actor’s trap to indicate response by doing something with his mouth. Actually, he can act. I just don’t want to see him do it.

The leading lady Kristen Stewart on the other hand orders her technique lukewarm from TV. Minutely hammy, her response range is canned. Starvation follows our every swallow. Hers is the role two men from the same family fall madly in love with, and one wonders how come. She’s so doughy, so uncooked. What do they see in her? What does she see in herself?

Having said every unhappy thing I can say about the film, I certainly have nothing left to say but see it. Woody Allen wrote it, and he is still a national treasure. Santo Loquasto’s art direction is beyond great: the places he takes us: the bars, the palaces, the dives, the nightclubs of the ‘30s! The costumes of Suzy Benzinger are smart and vicious and fun. The supporting actors are tops, among them Parker Posey as a practical materialist fashionista, and Blake Lively as the witty Rosaline character.

It’s a romantic Dramedy, but don’t expect it will move you. It’s a marvelous story, even though Woody Allen stifles the drama with a joke every time an actor opens his mouth. Proceed to the movie house. But proceed with caution.

 

 

 

 

 
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Posted in ACTING STYLE: AMERICAN REALISTIC, DRAMEDY, Steve Carell

 
 
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