FROM THE ARCHIVES 11: a review of "Whatever Works" (2009)

Originally written July 12, 2009

"WHATEVER WORKS" (2009)
Written and Directed by Woody Allen
*** (three stars)

The sublime pleasure I receive from hearing the unparalleled usage of language in a Woody Allen film is an unequivocal delight...even in one of his slighter efforts. After a four year European odyssey that produced at least two of of his finest films in many years (2005's "Match Point" and 2008's "Vicky Cristina Barcelona"), Allen returns to his beloved native New York for his latest comedic rumination on life and love, "Whatever Works." Starring the inimitable Larry David from HBO's masterful "Curb Your Enthusiasm," one may have expected (or have hoped) for a comic collaboration of seismic proportions. But, what is on display happens to be one of those aforementioned slighter efforts from Allen but perhaps that slightness is deceptive as the spell the film casts continues to linger after leaving the theater earlier this afternoon.

Davd stars as Boris Yellnikoff, a former Physics professor, String Theory expert, Nobel Prize hopeful and self-described "genius" who has emotionally spiralled into an endless black sea of misanthropic nihilism and quite cheerfully unleashes his rage against the world at any and every "inchworm" or "cretin" within earshot (that includes the audience whom he address by breaking the "fourth wall" early in the film). Yellnikoff is a morass of neuroses (would you expect anything else in an Allen film?) struck into this enraged state by the countless horrors of the world and more personal ones including a divorce and failed suicide attempt that has left him with a limp. At about the point where even his small circle of friends have had enough of his rants, who should drop into his life but Melody St. Ann Celestine (a joyful Evan Rachel Wood), a waifish Southern belle runaway who talks her way into Yellnikoff's apartment, promising to stay only for a few days. Melody's guilelessness and honest affection indeed begins to weaken Yellnikoff's resolve. A few days becomes nearly a year and before you know it, Melody professes her love for Yellnikoff and the two become married.

Now, before any of you begin to stone the screen feeling that this is another one of Allen's film romantic fantasies, the plot takes several twists and turns with the inclusion of more characters, most notably the separate arrivals of Melody's Southern, church going, NRA participant parents (endearingly portrayed by Patricia Clarkson and Ed Begley Jr.). What results is a film that explains simply enough that the heart wants what it wants and in a world where nothing is in our control, we must have the tolerance and acceptance of whatever gifts life may bestow at our feet--especially if it doesn't make sense initially. The relationship between Yellnikoff and Melody is a charming one but progresses in unexpected ways and the life paths of Clarkson and Begley Jr. flow into completely uncharted waters where both are surprised to realize that their lives are now happier ones.

In promotional interviews for the film, Allen explained that the screenplay for this film was originally written in the 1970's and to a degree, it shows (for the better upon further examination). Not through the humor, but through some of those character life changes. Topics of menage-a-trois and latent homosexuality are presented in a display of the almost innocent discovery that may have been a part of the 1970's journeys of self-analysis. There is no ironic distance or post-modern knowing to the proceedings and somehow, it is disarming through not being jaded and it greatly assists the film's primary theme of acceptance.

While Larry David certainly doesn't do much stretching from his HBO character (he's essentially a meaner version of his television role), he is a perfect conduit of Allen's material which could come off whiny and exhaustive from another actor's mouth. Somehow, you stick with David even at his most insufferable and perhaps our reaction gives us a window into Melody's innocent appreciation and love for this unashamedly grumpy old man. This also brings me to Evan Rachel Wood, an extremely talented young actress who I have enjoyed ever since her stint on the lovely series "Once and Again." After a collection of increasingly darker roles (which may have unintentionally made her a one-note actress), it was truly refreshing to see Wood travel to brighter pastures and show us a flirty, bouncy, light comedic style that will only work to her advantage as her career continues.

"This is NOT the feel-good movie of the year!!" bellows Yellnikoff at the start of "Whatever Works." But, somehow, through the affection for its characters, appreciation of their inner desires presented without judgement set to the marvelous tune of Allen's trademark dialogue, perhaps Allen did indeed make the feel-good movie of the year.

It didn't alter any perceptions or enthrall me like last year's "Vicky Cristina Barcelona," but I was happily entertained and for someone as skilled and prolific as Allen, a weaker effort is typically better than most other movies out there.