 Woody Allen and Mira Sorvino 174 KByte |
The main title of MightyAphrodite itself is a terrain for observation and listening.
The font is the well-known one, which Allen has been using for
over twenty years. The music, however, is unusual. These are the
native tunes of Greece, although the Master has so far only used
American classics (Gershwin, Cole Porter, jazz) as accompaniment.
Alloying the expected and the unexpected in this way fills us
with delightful excitement.
Woody's restaurant is in continuous operation: we may drop in from time to time. Few film-makers preserve their fertility as long as Woody Allen: by 1982, he has directed 10 films, and since then he keeps making at least one and sometimes two films each year. Mighty Aphrodite was made in 1995, screened in the USA in 1996. His film of 1997, obviously, will not have to be missed too long. The establishment has maintained its excellence, employing first-class actors exclusively, and its products are enjoyable, although perhaps not always as memorable as the ones from one or two decades ago. The fact that this time Allen employs a Greek background, i.e. that he has a contemporary comedy of love and ethics from New York commented on by the choir of Greek tragedies, adding colour to his film with this parodying setting, is only astonishing at first sight. Woody Allen has always liked to refer to the great representatives of world culture (Shakespeare, Chekhov, Bergman), in a fun-poking way, and the Oedipus-myth has also turned up in the episode of New York Stories that was both directed and acted by him. The special vibration between the narrative and the action - that the audience has got accustomed to (and has been expecting) especially since Annie Hall, is this time mainly ensured by the collision between the "elevated" ancient Greek from and the "vulgar" modern content. The Choir, the Leader of the Choir and Cassandra all get involved in the life of the American sports reporter (Allen, the sports-fan, can finally play this part as well!), Lenny Weinrib, in order to advise him and react to events. And what adds Greekness to the story is that Lenny and his wife adopt a little boy and years afterwards the father decides to find his son's mother. This is the point where the film flashes up. It has been clever so far, too, (well designed, well-structured) as well as exceedingly funny. But something was missing from it. From the director of Annie Hall and Manhattan, the lack of richly drawn characters was conspicuous already in the 1993 Manhattan Murder Mystery. The same is true for this film. Allen has the very same character wander from film to film (the image of his own self, created for the screen), but that at least is a character. The rest are entirely without contours, and the actors must play without the author's support. And than something unexpected happens! The main character, Lenny, finds his son's real mother. Linda (or Leslie? - the "lady" is in the habit of changing her name frequently) is a flesh-and-blood person, and her appearance fills the film with new breezes. This is nothing less tan a new environment and a new human fate in Allen's oeuvre. She wanted to become an actress but got only as far as prostitution and the pornographic industry. She is a little goose, rather vulgar, her accent can hardly be suffered, yet her energy is elemental, and her character is infinitely moving. No wonder that she repulses and enchants Lenny at the same time. Mira Sorvino's acting is of penetrating force, which even prompted the Oscar-jury - programmed for mistakes - to award it with a prize. The director himself must have felt that he has a treasure in the hands - he allows Linda (and Sorvino) ample space, and rightly so. From that moment, his film carries us away. And what becomes truly unforgettable is just this female character. The rest (i.e. the smart basic concept, the compulsory, super-witty dialogues, - not to mention the exaggeratedly idyllic ending) do probably not. The patron of a restaurant - what ungreatfulness! - is impressed not by being served the well-known dishes in the well-known way at his favourite establishment, - but by the never-tasted delicacy. |
 Woody Allen and Mira Sorvino 124 KByte | |
 Woody Allen and Helena Bonham Carter 124 KByte |
