"Whatever works" works with some qualifications. That is to say, there is typical Woody Allen humor. "Highbrow condescending cretins" at its best Although at places, it's brashly impudent. Partly due to Larry David's monotonously rendered performance as Boris Yellnikoff. If you haven't guessed it, he is playing a Woody-Allen-prototype. In that, he has no neurotic fits (and even if it exists, it's not apparent), but we do see more of a physicist type (by that, it's natural to be impatient with simpletons). Woody Allen's intention is to create a reclusive bad tempered misanthropic hypochondriac with obsession for death and morbidness in life. I paraphrase Boris Yellnikoff's self-estimation. It's no surprise to cast a younger(relative to Woody of course) actor who is able to deliver the lines with a straight face, and in a deadpan sitcom-ish way, that it is more of a savoir-faires (watch Boris address "us" like a PhD physicist than recite/narrate in ways of Alvy Singer from Annie hall). He also admits so himself, "I’m not a likeable guy. Charm has never been a priority with me." But make no mistake, this is no curmudgeon. But a 60 year old in full equanimity, able to see the whole picture, so to speak.
It's ironic that we also laugh at things we'd cry about. It's not so strange an inclination to take up morbidness with humor. This has become woefully apparent for yours truly. Perhaps I am much pampered by Woody's style over the years. But sadly it's misleading people into deriving "feel-good"-ness. No wonder Woody writes a monologue for Boris addressing it to the audience, "if you’re one of those idiots who needs to feel good, go get yourself a foot massage". LOL. Woody's works, at least to me, have been void, and indifferent as universe itself. He never sets out to make a life-affirming hymn, but it sustains interest in showing its characters sustaining their own lives. Life is more of a moot point, and the protagonist (often played in Woody prototype) is shown to be obsessed by death that it makes life defeatist, and something of a "ritual for death". but through course of the film, there is a consensus reached. To make life interesting with our quirks, inclinations, art, Love, etc. Essentially bohemian, confined to Manhattan, his outlook comes to fore. Which leaves room for criticism by critics such as Rosenbaum.
Rejection of religious inclinations also sticks its head. Picture this, a deeply religious couple get separated. Both have been suppressed to lead a lie, and by their separation, conquer better understanding of themselves. One finds it in Menage a trois, and the other realizes his suppressed homosexuality. And both have quenched their religious conformism, and found something "better" to hold onto. Woody is careful to point out. Everything hits at this point (not so subtly) - the absurdity of existence, the "blind chance", search for love, and well, whatever works! "Search in Life is something to give the illusion of meaning to quell the panic" says Boris, in verbatim.
As a film, it works in a qualified way as I first began this post.I'd suggest you to watch at ease. It's not something new. Yet, "Sometimes a cliche is finally the best way to make one's point." retorts Boris. And with laughs. |
) - pudhusa/perusa edhuvum illa.