Customer Reviews

Cassandra's Dream : Widescreen Edition

5 star:		(11)
4 star:		(15)
3 star:		(11)
2 star:		(6)
1 star:		(6)

 

 

Since the times of "Mighty Aphrodite" the genial Woody Allen seems to have found a never ending vein of possibilities, blending the essential roots of the Greek tragedy with the classic patterns of the Noir Film.

As a matter of fact, if "Match Point" was one of his most supreme achievements until this date, "Cassandra ` s dream" is the perfect vehicle to carve in relief the existential anguish and the primary scream for two working class brothers who aspire to escape from his quotidian environment.

Every one of them wants to be recognized and admired, playing the game of a wealthy uncle, who is for their mother, the symbol of success, and the real support along his years of childhood and youth.

So, we have the greedy mother, the ruthless uncle who is a real wolf of the finances and regards the existence like a poker game. "Family is family and blood and blood" is his honour` s code, the fatal statement which will open the Pandora's box , leading the viewer to be witness of what the unsatisfying thirst of ambition and greed .

Once more, we are in front of one the most intelligently written and better conceived scripts of this tireless filmmaker, where the brain sees to impose itself into a world eminently emotional where nobody is totally innocent.

Both brothers appear like the sides of a coin, one represents the wounded conscious, while the other is the symbol of the pragmatism. A similar dramatic device who reminded me to Sean Penn `s "Indian runner".

Watch it, because it's absolutely gratifying from start to finish.

Woody Allen returns to familiar territory in Cassandra's Dream. The whole murder and mystery thing in London that has been his main theme since Match Point and Scoop is getting a bit boring. Match Point was good and got him his best reviews in twenty years. However it was too similar to a section of Crimes and Misdemeanors, the last film that got him those rave reviews, in which a man has an affair and then plots to kill his mistress. Cassandra's Dream is different as it tells the story of two brothers who find themselves desperate and in need of cash. The Blaine brothers are two working class lads who need a large amount of money and quick. Terry (Colin Farrell) is a mechanic with a gambling problem who has just lost big at the track and owes some dangerous people . Ian (Ewan McGregor) works at their dad's restaurant out of pity but dreams of finding the right girl and opening his own chain of hotels. One day while driving in the countryside he meets a pretty actress and begins to woo her. He can't afford to buy her affections however so he too needs money. The boy's Uncle Howard (Tom Wilkinson) is rich and has always come through for the family before. When he arrives in town each brother presents their case to him and asks him for the money. Howard isn't prepared to just give it to them like he has done before. He wants a return on his investment. A former business partner is set to testify against him in an upcoming trial. The testimony could land him in jail for the rest of his life where he would not be able to access his money and be useless to the boys. He wants the man taken care of as he explains it. Terry is shocked to hear this and immediately refuses to participate in a murder. Ian on the other hand makes it his duty to convince his brother that this is their only way out of their current predicament. The rest of the film concerns the brothers plotting and going through with a murder and the consequences of their actions. What happens to Terry makes this film somewhat unique and is certainly unexpected. Farrell and McGregor are quite good and Tom Wilkinson is perfect as the rich uncle who is sympathetic one moment but menacing and dangerous the next. It has some good things going for it but ultimately it gets boring because it is repetitive. It isn't hard to see why this film never found a distributor at Cannes and instead went straight to DVD.

Woody Allen's "Cassandra's Dream" is a tightly-wound fable about the morality and consequences of overweening ambition. Ewan McGregor and Colin Farrell star as two working-class brothers who start out with outsized dreams but end up with a wealth of troubles wrought by obsessive social climbing. Ian (McGregor) passes himself off as a high-rolling property investor/developer, largely to impress his paramour, an alluring actress with a wondering eye (Hayley Atwell), while Terry (Farrell) sinks into the mire of compulsive gambling. In their desperation to finance their respective endeavors, the brothers turn to a wealthy uncle (Tom Wilkinson), who in turn extracts a deadly Faustian bargain from his nephews. Like 2006's "Match Point," "Cassandra's Dream" is yet another in a string of movies that are propelled by Woody Allen's lifelong fascination with class, morality (especially as it is defined or interpreted by the socially prominent) and the resulting friction. As with "Match Point," "Cassandra's Dream" has a spine-tingling, thriller-like urgency that quickens and intensifies as the story moves along. And Colin Farrell gives what may be one of his finer performances as the boozing, pill-popping and guilt-ridden prole unwittingly roped into an unspeakable vendetta.

***1/2

Whenever he turns to drama, Woody Allen always seems to wind up
channeling either Ingmar Bergman ("Interiors," "September") or Fyodor
Dostoevsky ("Crimes and Misdemeanors," "Match Point"). "Cassandra's
Dream" finds him in one of his Dostoevsky moods (with traces of
Hitchcock thrown in for good measure), once again making the case that it is
both impossibly difficult and ridiculously easy for the common man to
engage in cold-blooded murder.

Colin Farrell and Ewan McGregor star as two working-class brothers who
have fallen onto financial hard times (one is a compulsive gambler, the
other a frustrated cipher with dreams of rising above his station both
economically and romantically). Desperate for some immediate cash, they
reluctantly agree to knock off one of their wealthy uncle's business
rivals who has some secret knowledge that, if it ever got out, could
send the old man up the river for a very long time.

Set in London, "Cassandra's Dream" is not as sharp and cutting as some
of Allen's previous works in this genre, but thanks to strong
performances by Farrell, McGregor and Tom Wilkinson as the uncle, this
latest update of the Loepold-and-Loeb story manages to keep our
interest most of the way. The themes, which have been played out in
literature and movies for what seems like eons now, understandably feel
a trifle old-hat at this late stage in the game, but Allen's generally sharp dialogue,
canny insights into human nature, and smooth direction help to freshen
them up a bit.

It may not be Allen at his finest, but the ancillary rewards of script and acting make the
film well worth seeing.

There's an oddly pinched tone to Woody Allen's 2007 noirish morality tale about the evil men are willing to do for the elusive things they can't have. Still in exile in London for his third film in a row across the pond, Allen has made a film that is recognizably his own even although he is nowhere to be seen this time. You can tell by the clean cinematography courtesy of Vilmos Zsigmond (Close Encounters of the Third Kind), the dialogue-rich scenes, and the parable-like way the story unfolds as if it was a contemporary take on a classic Greek tragedy. In this respect, the film immediately recalls Allen's 2005 Match Point, but this time, the moralistic perspective clamps down the dramatic angle as the narrative takes a well-trodden path. The title refers to a small sailboat much sought after by two working-class brothers. On the surface, older brother Ian is the prototypical good son who works at his father's struggling restaurant out of familial devotion.

Younger brother Ian, however, has an addictive personality - whether it's gambling, alcohol or pills - that makes him the object of ridicule and scorn by his parents. We soon discover that both are really the opposite of what they appear. By casting Ewan McGregor and Colin Farrell as Ian and Terry, Allen appears to be switching the roles one would associate with the actors' screen personas. The usually gallant McGregor plays the cool Machiavellian one, while the cocksure Farrell is the naïve, guilt-ridden one. Thanks to Terry's lucky betting streak, the brothers get the boat and quickly get in over their heads. Ian needs funding in order to invest in a chain of high-end hotels in California, while Terry racks up insurmountable gambling debts. Just in time, the family success, their well-heeled Uncle Howard shows up, and the brothers waste little time in asking him for money since Howard has been helping their parents for years. The central plot twist comes as Howard is willing to help the boys upon the condition that they kill a colleague that could destroy him in the midst of a pending investigation into his clinic business.

How the plot evolves is pretty standard, and Allen appears to have trouble keeping it all reasonably suspenseful. The problem is that Terry's emotional breakdown is dragged out amid the contrived plot twists until the somewhat ironic ending. While Tom Wilkinson is dependably compelling in his few scenes as Uncle Howard, the rest of the performances are variable in quality. McGregor captures the ambition of his character, but he is not nearly as convincing when Ian's desperation turns malevolent. Farrell is comparatively more surprising as Terry as he shows his character's budding conscience with conviction. It's too bad Allen's screenplay lets him fester in his guilt for so long. Newcomer Hayley Atwell lacks the range to play Ian's actress girlfriend Angela as anything more than a spoiled beauty. Sally Hawkins is better as Terry's effusive, concerned girlfriend Kate, but she is given little screen time. This is not Allen's finest hour, not by a long shot, but this film still has worthwhile moments. Like most video transfers of Allen's film, the 2008 DVD offers no extras.

The DVD, by Genius LLC, has no features, save a few theatrical trailers of other films. The film's score, by Philip Glass, is hit and miss- as often emotionally leading an audience by the nose as genuinely enhancing the film, a characteristic far too many Glass scores embody. The camera work by longtime Allen collaborator Vilmos Zsigmond is quite good. But, the writing is what sets this film apart from so many other routine `thrillers.' In a sense, Allen's problem with such a film reminds me of a similar problem that German director Werner Herzog had with his recent Vietnam War film, Rescue Dawn. So many critics focused on how its similarity in themes to earlier masterpieces by the director showed the later film up as inferior to the earlier ones that they missed out that the newer films were damned good on their own. Yes, Rescue Dawn is not as good, deep, and poetic as Aguirre: The Wrath Of God, and similarly Cassandra's Dream is not the almost perfectly crafted masterpiece that was Crimes And Misdemeanors, but so what? Both are outstanding films that, shorn of the comparisons, and if directed by artists other than Herzog and Allen, would have drawn unadorned raves. Also, it's helpful to note that the critics who dissed this film are the same folk who dissed the same earlier great Allen films when they came out, but who now hold them up as exemplars, only exemplifying the utter lack of critical acumen this essay's first sentence denotes.

This film also provides a terrific showcase for Colin Farrell to show off his acting chops. Playing against type, he is the weaker of the two brothers, and he is excellent, showing that he is not mere female eye candy, and that turns in stinkers, like Oliver Stone's Alexander, are not the best he can do. Ewan McGregor is good, as usual, as are the girlfriends, Atwell and Hawkins. Wilkinson is solid as the uncle, but the film might have given him a bit more to do. As is, his character is only a plot device to propel the brothers on their journeys, although the fumbling delivery Howard makes, and his digressions on why he won't consider a professional contract, make the scene all the more believable.

But, the film is so rich with great moments that detail character and plot, as mentioned earlier, that the screenplay could be used as an aid in screenwriting classes, for the film does trod over familiar Allen territory, but often with new twists and interesting asides which only deepen the resonance the film has. As example, after Ian meets Angela, he dumps his black girlfriend, Lucy, and a bit later, we see him callously telling his dad how special Angela is, and how much better and classier than any other girl he's dated she is. Lucy hears this, and the reaction she gives subtly lets us know how hurt she is and what an insensitive ass Ian is. There is also a scene where Ian questions Angela's ethic, by asking her if she'd sleep with a director to get a part, and she replies under what conditions she would. Ian, who has far weightier issues to deal with, seems stunned, but Angela puts him in his place by stating she gave the answers, but did not like the question. It's a small moment that shows that, while vain and egocentric, she does have a delineated ethical compass, and a penchant for giving as good as she gets- something many more one dimensional Allen sexpots lack. But, these are only two of a dozen or more such moments that enrich this film beyond mere `thriller' status.

And while Terry and Ian ruminate a bit on ethics they are not the typical Allen eggheads hemmed in by their intellectual prowess and emotional impotence. Their collective naïve-te is actually a bit refreshing, for when they repeat ideas hashed out in earlier Allen films (like the concept of `pushing a button' and someone is dead, borrowed from Crimes And Misdemeanors) or fixate on new ones (such as an addled Terry's claim that `It's always now!'- i.e.- the moment they committed murder) it is always in a different tone- one with more desperation, pathos, or stolidity- than before or expected. Also the fact that Allen, at several points, including the film's ending, seems to let the film settle into a groove that seems predictable, only to pull out the rug from under the viewers' expectations, lets the film maintain a tension and vigor it would otherwise lack. Viewers naturally desire clichés, in an emotional sense, for the comfort, yet when the film resists it the momentary disappointment blossoms into attraction to the storyline's turn from the expected, for manifest clichés invoke an intellectual resistance in a viewer, as well.

All in all, Cassandra's Dream is an outstanding and acidic portrait of family and crime, and one that was shamefully dismissed, when not neglected, by the idiotic elitists that populate the critical consensus that dominates film reviewing. Go against the grain, seek out this film on DVD, and let it work within you as well as on you.

In the quick, quiet flashes of the opening credits, the inexorable rhythm of the film is established. The steady pace with which the opening scenes limn the characters and set the plot elements in motion create a feeling of grim inevitablility that traps the viewer in a noir-like grip of guilt, entanglement, conflicting loyalties and moral doubt. This tight, well-acted drama follows some bad decisions to their tragic outcomes, exploring ideas of family, loyalty, and even exitential confrontations with meaning. A very thought provoking crime drama, taut, well-acted, and edited for maximum tension. Gripping and rewarding.

A few years ago, you may remember, Colin Farrell was touted as a hot young up-and-comer...a great actor with great looks. Someone who would be a movie star at any moment. Farrell then proceeded to "star" in a number of movies that the public was not interested in, such as THE NEW WORLD, ALEXANDER and THE RECRUIT. The soul-less MIAMI VICE was the bottom. It made some money, but Farrell was so uninteresting in it (and seemed so uninterested)...his moment of glory was done.

A few years ago, you may remember Ewan McGregor was a hot young up-and-coming star, after turning on critics with TRAINSPOTTING and striking a chord with Americans in a one-episode appearance on the smash hit TV show "ER." He was about to be a star. Well, he too starred in some movies no one wanted to see, such as DOWN WITH LOVE and STAY (although his natural charm and charisma never let him look bored.) He was arguably the best thing in the new STAR WARS movies, but he got lost in all the hand-wringing over how bad they were. His star faded.

For many years, in good movies and bad, Woody Allen has written great roles for women, including Oscar winning and nominated parts great and small. Have Diane Keaton, Mia Farrow, Judy Davis, Dianne Wiest, etc. ever been better than when working with Woody? But his star faded too. Each year, he churned out another clunker (MELINDA AND MELINDA, ANYTHING ELSE?). He still had big roles for women, but no one cared that Tea Leoni gave a tart performance in HOLLYWOOD ENDING.

A couple of years ago, Allen turned his attention to London, and suddenly there appeared MATCH POINT, his best movie in years. Emily Mortimer and Scarlett Johanssen gave highly praised performances...but I couldn't help noticing that the best performance came from Jonathan Rhys-Meyers. The next year, in London again, came the minor comedy SCOOP, which at least managed to be more funny than some of his more recent work. Johanssen again was okay, but ironically it was Allen's most amusing acting in awhile. And then came CASSANDRA'S DREAM.

There are women in this film, and they are all quite okay. But this is an ACTOR'S film...and suddenly we are reminded that Colin Farrell and Ewan McGregor are actually capable of truly moving performances, complex, flesh-out, lived-in and believable. They are not afraid to play genuinely flawed people. Allen has given them lots of rich dialogue to work with, and they RIP into it with gusto.

They play brothers who are always a bit down on their luck. McGregor works in his father's restaurant, but dreams of "making it big" with some sort of get rich quick scheme or another. He clearly has no head for business, but he wants to be rich, move to California and show off. He also wants to impress a beautiful actress he's in love with who he's made THINK he's all these things. Farrell is a mechanic who spends most of his time winning at gambling and even more of it losing. Both brothers are clearly addicted to the idea of fast, easy money...even if they recognize that these desires are flawed.

Both of them find themselves needing more money than they can possibly lay their hands on. And into their lives comes their very rich uncle (Tom Wilkinson...oozing easy menace in a way that Sidney Pollack would have done in an American film.) He wants to help them...but in return they must do something for him that is pretty horrible to contemplate.

Will they compromise their morals? If they do, will they be able to live with what they've done? Will money bring them happiness?

Allen has grappled with these themes before, and there's not really any new moral territory being explored. But the London setting has finally freed Allen's writing from sounding just like a film by...Woody Allen. McGregor and Farrell bring their own cadence to the dialogue, and they have both dug deep into their portrayals...so they sound like real people and not just Allen concoctions.

The movie builds some real tension. As the brothers face what they are considering doing, we truly feel some of the tension they do. We are sometimes appalled by them, but we always root for them. Neither of these actors would have expected to be renewed as movie stars with this film...but they saw a chance to renew their stature as actors. And both men succeed very well indeed. (And Farrell went on next to the superior, totaling gripping IN BRUGES...one of my favorite movies of 2008.)
The story comes to a rushed and disappointing conclusion...clearly grabbing to come off as Greek tragedy but most seeming lazy...as though Allen just didn't know how to wrap it all up. No one else in the film matches Farrell and McGregor for intensity of acting or clarity of characterization. Thus, this is a flawed film...but it's always interesting and it is more than redeemed by two outstanding performances.

It's a Woody Allen film (like MATCH POINT) that I would actually recommend to thoughtful adults who generally don't like Woody Allen. THAT is a rarity.

You know this is all going to come apart at the seams in due time, even as you watch this well done seeds-of-destruction film. Though it's a typical bargain-with-the-devil plot, Woody Allen makes it come alive by setting it in London with characters who are believable as they scramble for more with their greed getting the best of them. Colin Farrell does a nice job as a guilt-wracked dumb brother who manages one screw up after another. We aren't forecd to see any violence, and that's a plus for me.

Methinks all reviewers are right to zing directly or by faint praise their comments re meeting this short tall dark movie. Paul Simon sang "Every year we throw a hero up the pop chart" (or words to that effect). True, American audiences only love for a short time; they get restless and ask for more, mostly more of the same. The French, they've been civilized longer; they have more patience.

When an artiste pulls off a brilliant life of creativity, people, mostly Americans, get restless. Long ago a sage social observer called Americans 'spiteful spectators'(or words to that effect) wanting more; better, bigger too. All 'tall dark'critiques here are valid. But mostly because today's works don't have the gilt of newly-discovered creativity. Fresh/new trumps familiar/anything's.

That said, YWMATDS is kinda lame from concept through execution. All visible and agreed upon by Amazon viewer/fans (only two or three of his films garnered as low as three stars). Maybe now's the time to say Woody Allen's always had a kinda cynical, pessimistic take on love, relationships, the wars of the sexes: Love is desperately, clumsily seeking to fill a void? A scary thought for many.

In most cases Woody's lover character loves himself more than his (or her) love object. This film makes the lover a restless romantic who doesn't love so much as wants a male heir (okay, a spoiler, but not really pivotal) and for erecting a Viagra rush. A new role for drama dynamo Anthony Hopkins, portraying a dithering, fickle oldster, fumbling and swept along.(Kudos on him for so ably, aptly depicting an adrift namby-pamby oldster sans cliches)

Maybe from the sum of Allen's incredible life's work some sage can delineate a theme that makes a complete statement. It'll present the human condition, egotistical, unsure, comically hungry, for both genders; with love as an excuse to be taken seriously, to not be alone, to somehow win out in the cacophony of human transactions.

I collected all Woody's films. Think I'm going to take those I'm most drawn to and see them end to end. HANNA'S SISTERS, DECONSTRUCTING HARRY, HUSBANDS AND WIVES, ANNIE HALL and on for maybe eight-ten films. Then see this tall dark stranger anti-romance latest vehicle.

Allen is certainly today's Chaplin. When it comes to pop charts, no matter the competition over the decades, Woody Allen will be near to the top. Enjoy/learn from elements you relate to, ignore those you don't. Nobody's perfect; but Woody Allen comes pretty damn close. He and his philosophic and cinematic accomplishments Demand Respect.