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With
Hollywood Ending, Woody Allen good-naturedly bites the hand that feeds him. The modern studio system is a ripe target for Allens rapier wit, but the veteran writer-director goes a delicious step further by playing a has-been filmmaker who suffers from psychosomatic blindness--during the production of his big-budget comeback! Rather than sabotage his career, he proceeds to direct the film with guidance from his Chinese cinematographers translator, telling his agent (played by another veteran director, Mark Rydell) while hiding the truth from his ex-wife and producer (Téa Leoni), her studio honcho husband (Treat Williams), and his ditzy actress girlfriend (Debra Messing), who has a small role in the film. Chaos ensues--and so does Allens predilection for casting much-younger female costars--but
Hollywood Ending favors a more contemplative blend of comedy and drama, peppered with memorable punch lines and blessed with, yes, a Hollywood ending thats as entertaining as the mayhem that precedes it.
--Jeff Shannon
From The New Yorker
Woody Allen casts himself as the washed-up movie director Val Waxman, a real pain in the neck. Téa Leoni, she of the puckered mouth and long, lean body (here draped in cashmere), is his ex-wife, Ellie, who prevails on her current boyfriend-a smoothly dominating studio boss (Treat Williams)-to give Val one last chance at a big-budget picture. As the shoot begins, Val is afflicted by hysterical blindness, and various people serve as seeing-eye dogs, though no one on the set notices he's sightless. The movie is a farce, of course, but it's still awkwardly literal. A conceit that might have worked in a Chaplin two-reeler nearly destroys a full-length feature, and the pairing of the older Allen and the exquisite Leoni is embarrassing. With George Hamilton as a curious studio personage who is always present, golf club in hand, to spy on the creative people and intimidate everyone with his perfect tan. -David Denby
Copyright © 2006
The New Yorker