2009 | U.S. | 92 minutes
Director: Woody Allen
Writer: Woody Allen
Cast: Larry David, Evan Rachel Wood, Patricia Clarkson, Ed Begley Jr.
Distributor: Sony Pictures Classics
Cdn video distributor: Maple Pictures
Woody Allen has always insisted his films are not autobiographical, but when a Jewish New York filmmaker, who married his ex-lover‘s adopted daughter (35 years his junior) keeps telling stories about Jewish New York men who perpetually have Pygmalion-like relationships with much younger women, it’s difficult to swallow his “It’s not me!” claim.
Allen’s interest in little girls was first apparent 30 years ago in Manhattan when his character has a love affair with 16-year-old Mariel Hemingway. More hints appear in Stardust Memories when his lover Charlotte Rampling has a fight with him because he supposedly flirted with her young niece. In Husbands and Wives he develops an increasingly sexual closeness with Juliette Lewis (she was 19 at the time but looks even younger). Then, in Mighty Aphrodite, his character attempts to transform a young airheaded hooker (Mira Sorvino). Until now that was his most Pygmalion-like tale.
Curiously, in almost every case, there is at least one scene where they bond while watching or discussing a movie. For example there’s a brief scene in Crimes and Misdemeanors where we meet his character’s young daughter. And what are they doing? Walking down a street discussing a movie they just saw.
In all there is the undercurrent of him playing a father-figure who imparts wisdom onto these impressionable young women. His interest in them is not overtly sexual — though often times the women (or girls) conveniently have a thing for older men — but primarily to fertilize their minds, particularly in cultivating their appreciation of the arts. In the end these pretty darlings eventually leave, though usually to happier lives thanks to his influence.
Whatever Works is more of the same. The difference is, he doesn’t just “save” the girl but his actions also radically alters the lives of all around them. For the better, of course.
Now that Allen is pushing 75, it’s more disturbing for him to play these characters so the relatively younger Larry David takes the reins here as Boris Yellnikoff; a grumpy retired divorcee who lives alone in a dumpy apartment in New York’s Chinatown. The main thrust of the story is that Boris takes in a pretty 21-year-old runaway named Melody (Evan Rachel Wood). It’s her idea, of course, as is her desire for them to eventually become sexual — and get married. How convenient. She’s not too bright or cultured and, as is typical of Allen, he uses the opportunity to become her mentor. Even though Boris’ field is quantum mechanics — and claims to hate television — much of their bonding happens through their experiences with the arts. For example she soothes him out of a panic attack by turning on the tv and watching a Fred Astaire film. He tries to broaden her taste in music by forcing her to listen to Beethoven’s 5th. Sound like a familiar pattern?
When Melody’s parents eventually show up (Patricia Clarkson and Ed Begley Jr.) and find their precious angel sharing a marital bed with a neurotic geriatric, Allen uses them not as an opportunity to create dramatic tension, but to poke fun at their Christian values (another favourite target for Allen). For no apparent reason they quickly abandon their whole value system and adopt lifestyles that would make them right at home in Sodom and Gomorrah. Yeah right.
One nice technique Allen uses that filmmaker’s rarely attempt is breaking the fourth wall — when the main character directly addresses the audience (some popular examples would be High Fidelity and Ferris Bueller’s Day Off). Typically other characters are oblivious to this, but the unique spin here is that they are aware. They opening ask “Who are you talking to?” It’s a cute twist, but not one that is as amusing as the Greek chorus in Mighty Aphrodite.
This “fourth wall” technique is a favourite one for Allen because it helps add emphasis. Here, for example, after showing everyone living happily ever after, Boris closes the film by once more addressing the audience and philosophizing about the whole thing. His point relates to the film’s title.
But, really, the film is just another defensive statement from Allen; that when men like him sleep with young women, the world is a better place.
Theatrical release date: June 19, 2009
Video release date: October 27, 2009
Production Budget: n/a
Worldwide Box Office: $21,511,766
FUN ALTERNATIVE: Ghost World is a nice counter-point to the silly, illogical characters in Whatever Works, and the older man here is definitely no Henry Higgins.
The focal character is Enid (Thora Birch); a strong-willed but disgruntled high school graduate who doesn’t know what to do next in this world because she doesn’t feel a part of it. Even her best friend Rebecca (Scarlett Johansson) mostly exists simply to keep her company. She feels alone until she pulls cruel prank on a lonely middle-aged man named Seymour (Steve Buscemi) who is similarly alienated and cynical. When she realizes his unique honesty (a rare quality in her life that she cherishes most) the guilt of her prank sinks in and she endeavors to make things right.
Seymour is both grateful and uncomfortable with her efforts to be friends. His insecurity is strong enough to know she couldn’t really want him to be more than friends. So he lets her do most of the work of deciding where to go and what to do. The progression of their relationship is inevitable, and not altogether perfect, but that’s life.
And that’s the main strength of the film. It feels like a life experience, not a story. The characters seem like normal reality-based people, with everyday flaws and weaknesses. That their friendship ultimately shapes the path of their lives is not the result of any particular experience or event, but is a culminative effect of having spent time together. Few films have pulled that trick off with engaging style.