DVD Town Reviews MATCH POINT

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Woody Allen mastered the art of filmmaking in the late 1970s with "Annie Hall" (1977) and more significantly with "Manhattan" (1979). In the 1980s, Allen carried over his strengths as a writer-director, creating a series of criminally underrated films including "The Purple Rose of Cairo" (1985), "Hannah and her Sisters" (1986), and "Crimes and Misdemeanors" (1989). However, the films that Allen created during the 1990s were largely critical flops, and he has recently struggled to complete a film that has a balanced level of strong writing and confident direction. Critics and audiences alike have long awaited Allen´s return to top form, and fortunately, with "Match Point" (2005), the director can rest at ease and bask in the glory of praise.

"Match Point" is unlike anything Woody Allen has done in the past. With this film, finding Woody´s trademark techniques is as difficult as finding consistency in the "Star Wars" prequels. In "Match Point", the lead actor does not impersonate Woody Allen, and Allen himself does not appear in the film. There is very little humor, the film is considerably longer than most of Allen´s films, and most obviously, the setting is in London rather than New York. While many of Allen´s trademarks are no where to be seen, Allen maintains his knack for sharp, highbrow dialogue (including the common discussion of Ingmar Bergman) and his love for opera.

With "Match Point," Woody Allen transfers his marital inhibitions, his thoughts on infidelity, and his weakness for temptations to the character of Chris Wilton. Jonathan Rhys-Meyers plays Chris with charisma and confidence while maintaining a subtle sense of deceit and dishonesty. In the film, Chris has found a job as a tennis instructor at an upper-class British club. He leaves quite an impression on one of his clients, Tom Hewett (Matthew Goode), who invites Chris to spend the night with the wealthy Hewett family for an evening at the opera. There, Chris charms the Hewett family with good character and particularly impresses Tom´s sister, Chloe (Emily Mortimer). Chloe is instantly attracted to Chris, who is eager to take advantage of romancing the daughter of the rich and influential Alec Hewett (Brian Cox). It´s obvious that Chris has a hunger for a life where money isn´t an issue.

At the following Hewett family gathering, Chris meets Tom´s fiancee, Nola Rice (Scarlett Johansson), a flirty, sensual American who happens to be a struggling actor. Chris finds Nola´s confidence irresistible, and immediately, there is a physical attraction. As time passes, his relationship with Chloe becomes increasingly serious, while his obsession with Nola intensifies. Ultimately, Chris is forced to decide whether he´d rather have a wealthy life or concede to a life where all his sexual desires are fulfilled. Throughout the film, Chris´s ulterior motives generate a tense and suspenseful tone, particularly when it is foreseeable that his plans may unravel.

One of the most appealing aspects of the film is its sensuality. Allen handles this masterfully, capturing erotic scenes while controlling the level of graphic nature. Scarlett Johansson, again displaying her tremendous acting ability, creates an emotionally fragile, yet, overtly sexual character that elevates the film´s most radical scenes from being entirely absurd to relatively believable. The film´s plot relies heavily on this sensuality and its ability to coerce a relatively content married man into disloyalty.

Due to the themes and nature of "Match Point", it is easily one of Allen´s darker pieces (if not the darkest), and consequently, audiences will have difficulty sympathizing with the characters. Although almost all the characters are likeable in a charming or seductive way, the bleak and sinister sides of their personalities resonate with viewers. While many people will criticize this notion, I see the characters´ motivations and actions as truthful and honest. It is in human nature to fall under the spell of temptation, and Allen has chosen to address the awkwardness and the deception that arises from such unfaithfulness. No other film in recent memory has captured the radical effect infidelity has on marriage with such a truthful sense of timing and pace. Allen´s approach is quietly delicate rather than melodramatic and in effect, he demonstrates his strong ability to develop his characters in a series of logical stages rather than abrupt transformations. From the beginning of the film, it´s apparent that Chris isn´t the most honorable person and that Nola has a greedy and demanding disposition. It is through these early characterizations that Allen is able to stage the final surprising act that may be a tad much for the film´s good. However, Allen is able to get away with such an ending because he has created believable characters with specific motivations. His ending, if nothing else, strengthens his message.

The London locale works for and against Allen. The change in scenery allows Allen to create a tightly woven and dramatically sound film where his assured and confident direction is present, an aspect of Allen´s filmmaking that has been sorely missed over the past fifteen years. The London setting inspires Allen´s creative use of camerawork, which is perhaps his best since "Manhattan." This is evident in his decision to hold his shots long enough for his actors to build the necessary tension, resulting in a deliberately suspenseful pace. However, Allen has built his vision of London based on stereotypes rather than actual first hand experience, which can be distracting and offensive to its English audiences. With future use of London settings, I would like to see Allen use a tad more realism rather than composing an entirely idyllic city.

From the very opening shots of the film, it´s obvious that Allen plans to illustrate that our lives are determined by chance rather than fate. At times this is heavy-handed, particularly in the first scene with Allen relating luck to tennis. He does so by describing a common occurrence during many matches, where a tennis ball may hit the top of the netting, at which point Allen suggests it is simply luck that the ball may bounce forward or backward to the player´s advantage or disadvantage. It is odd that Allen would find it necessary to present his theme in such a blatantly obvious fashion. This theme can seem obvious and trite, especially since many characters throughout the film speak of luck affecting their own lives. Fortunately, Allen composes his film with compelling characters that often make light of coincidental situations.

Following Allen´s last great work, "Crimes and Misdemeanors", his films achieved a constant state of mediocrity. Though highlighted by moments of brilliance, they were restricted by thin storylines, over-length, and redundant dialogue. These faults plagued both Allen´s writing and directing by limiting him to lowbrow, forced comedy. The Woody Allen of the late 1970s and 1980s never would have resorted to slapstick, nor would he have put tremendous acting talent to waste. "Match Point" marks the arrival of new territory for Allen who makes use of the originality and artistry that made his films from the late-1970s and 1980s such critical successes. At last, "Match Point" is a once-great filmmaker´s return to the top of his game--though it may have been luck. Nevertheless, welcome back, Woody.

Film Rating: 8/10

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