Deconstructing
Harry (1997)
Everyone Says I Love You (1998)
Woody
Allen had become a rather private person when his world
came apart under the revelation he was having
a relationship with his step-daughter. "Deconstructing
Harry" came out of this turmoil. An introspective and
rather autobiographical film, Allen disguises much of
his own story in metaphor. Rather than dating his step-daughter
in the film, he hangs out with whores. He questions
his own ability at fatherhood by having his character
kidnap his young son and then take him on a road trip
with an old friend and a black, scantily clad hooker.
Rather than being a filmmaker, Woody plays his character,
Harry Block, as a novelist. And on and on and on...
Allen revisits "The Purple Rose of Cairo" genre by having
the characters from his books come to life and have
conversations with him. Much of the film is about how
Block's novels are drawn from his own experiences and
his flashbacks are coupled with the playing out of scenes
in his book. For example, Kirstie Alley plays his ex-wife
Joan while Amy Irving plays her fictional alter-ego
Jane. Allen references much of his prior work here and
shows us all of this playing out in supposed reality,
fantasy and flashback. Often the scenes from Block's
books recall the scene's from Allen's films.
The film is an exploration of Allen's own incapability
to separate his libido from his life. It is Block's
incapability to separate the fantasy and the facts of
his world that surely lead to his downfalls, large and
small. Allen tries to come to terms with his own problems
by exploring them here in his film rather than on a
psychiatrist's couch. He does this by writing about
them and then acting out a scene where he goes to a
psychiatrist. Sort of a self-exploration and a self-revelation,
Allen splays out his feeling, his emotions and his experiences
in metaphor. We wonder how much of Block is in reality
Allen. Does Woody like to be tied up and hit as
his character does? Or is this a analogy for his desires
for younger women? For Asian women? Much of the "fun"
of "Deconstructing Harry" is deciphering what Allen
is saying about himself here. But what we come away
with is nothing more than a picture of a sad old man.
Allen's films, his work, seem to be all that he is made
of here. He is an empty vessel trying to fill himself
up with sex and female companionship and finding that
this attempt at fulfillment only leaves him more empty.
In the end, it is his work, and not his life, which
speaks to him. And we are left feeling empty as well
- and saddened at a man who cannot find real inner peace
or true happiness. He only finds it in his art.
The film is full of obscenities. Allen seems incapable
of holding back here. But the film's verisimilitude
demands it. To hear a man in his later years, however,
as Woody must be in his 60's or 70's, discuss his desires
to "fuck a whore," can be quite distasteful. But the
film is a frank discussion about sexuality and
sexual desire, even if it is Woody's own reality
cloaked in fiction. This film must be bold, must be
coarse in it's discussion of sex and sexuality because
it is important to the ideas and the thoughts which
Woody is trying to convey here. He also takes
a subtextural moment or two to discuss his feeling on
religion, in particular Judaism, in the same candid
manner. Here, as in it's discussions about sexuality,
Allen's script is open and forthright. For all it's
blue discussion and foul-mouthed outbursts, however,
the film is not titillating nor is it a celebration
of fornication or deviant behavior. Rather it is a aging
man's exploration of his feelings and basic desires
and how these have often prompted the events of his
life and shifted the course his existence has ran. How
we feel about this, whether it is sympathetic or empathetic
or have no feeling at all is left to us. Those who feel
that Woody is perverse and morally corrupt, and
therefore Block is, probably won't be watching the film
anyway.
Prior to "Harry," Allen brought forth a film that could
only be described as "the exact opposite" of his blue
yet autobiographical film. "Everyone Says I Love You"
is a romantic comedy. More than that, it is a musical
romantic comedy. And it must be viewed as an abject
failure.
The film lets you know, from the first frame (after
Allen's usual black screen credits - here only the title),
what you are in for. Egotistical Edward Norton flaunts
and frolics while lipsyncing a musical number. Giddy
Drew Barrymore follows him around like a little puppydog.
The film does the complete musical number before lapsing
into the usual Allen cinematics and dialogues. We know
the film is in trouble when Natasha Lyonne begins an
obnoxious narration. It's a device which is to permeate
the film. It's bland and annoying. After the first musical
number, it is almost 20 minutes before the next interlude
begins.
Allen is not up to his game here. His musical numbers
are flat and his plotlines are obvious. Lyonne and her
friends spy on her mother's patients (her mother is
a psychiatrist - what else?) and hear the tales of a
woman, Julia Roberts, who is searching for love. Lyonne
then uses this information to set up her father (Allen)
with the woman and tells him her desires so he may fulfill
her dreams and become her soulmate. I guess Allen is
saying that he needs a "roadmap" to understand and satisfy
a woman's emotional needs. Who doesn't?
Oh, it's pointless to go into plot here. There's nothing
new and so many young actors are wasted here. And the
musical numbers don't work. This film is a throwback
with only one good scene. The end with Allen and Goldie
Hawn, which includes a marvelous dance sequence,
is sweet and touching. It makes what's preceded almost
worth watching.
Allen wanted to make a film where well known actors
sang and danced. All the actors here, for the most part,
sing their own songs. The most wonderful of these is
Allen himself who sings the lines of his one tune sweetly
and quietly, eeking out a modicum of tenderness that
makes us care about his character There is also
a charming recreation of Groucho Marx's "Hooray for
Captain Spalding," sung in French which is quite entertaining,
but it is done by professionals.
"Everyone Says I Love You" is a failure but it is still
interesting to watch, if nothing more than for the novelty
of it.
Notes
on "Deconstructing Harry:"
With Richrd Benjamin, Eric Bogosian, Billy Crystal,
Judy Davis, Mariel Hemmingway, Hazelle Goodman, Julie
Kavner, Julia Louis-Dreyfus, Tobey Maguire, Demi Moore,
Elisabeth Shoe, Stanley Tucci, and Robin
Williams.
Written by Allen. Cinematography by Carlo Di Palma,
Allen originally wanted Elliot Gould to play Harry Block.
The film references several of Allen's previous films
in visual or thematic ways including "Husbands and Wives,"
"Alice," "Stardust Memories," and "Hannah and Her Sisters."
The film was nominated for an Academy Award for Best
Screenplay.
Notes on "Everyone Says I Love You:"
With Alan Alda, Lukas Haas (who is wasted), Gabby Hoffman
(who is underused), Natalie Portman (who is nonexistent),
Tim Roth, David Ogden Stiers, Billy Crudup, Edward Hibbert,
and a cameo by Itzhak Perlman.
The uncredited Olivia Hayman sang Drew Barrymore's parts.
Tracey Ullman and Liv Tyler filmed scenes which were
cut from the film.
Written
by Allen.
Original Music by Dick Hyman.
Cinematography
by Di Palma.
The film was nominated for few awards.
Other songs used in the film include "Everyone Says
I Love You" (also originally sung by Marx), "I'm Through
With Love" (sort of used as a motif), "Chiquita Banana,"
and "Makin' Whoopee." The Helen Miles Singers
perform a few songs.
More
of Lodger's reviews indexed alphabetically! Just click
your favorite letter to go there.
a
b c
d e
f g
h i
j k
l m
n o
p q
r s
t u
v w
x y
z
HOME
|
In
Association with:
|
Posters From!
|
|
Please Visit 
|
|
