Comme tu veux

If ever a movie could be described as an allegorical rendition of a director's life, Whatever Works just might top the list.

Marking Woody Allen's return to his native New York City after a four picture hiatus in Europe, the movie tells the story of Boris Yellnikoff, played by Larry David (Curb Your Enthusiasm), the only actor working in Hollywood today who most closely approximates Allen himself in look, mannerisms, and philosophical outlook. Afflicted by numerous neuroses, Boris has become the ultimate pessimist, seeing life as one long water slide ride into an eventual cesspool. So bleak is his outlook that he becomes convinced that suicide is the only option, but even that cheap out fails him.

Fed up with the world, Boris turns his back on much that society has to offer, instead spending his days teaching chess to kids while publicly humiliating them at every opportunity. Yes, Boris isn't a happy camper, and takes pride in it. The fact that he's managed to maintain a core of four friends is a miracle in and of itself.

Then one day fate causes him to cross paths with Melodie St. Ann Celestine (played by the delightful Evan Rachel Wood), a country bumpkin runaway from the backwoods of Louisiana. She is Jethro Bodine to Yellnikoff's Einstein. A complete intellectual and generational opposite. Love at first sight it isn't, but given the axiom that opposites attract, Boris soon finds himself falling for the much younger siren (cue the Allen parallels).

While some critics have complained that much of the dialog comes across as stilted and unnatural (which it does), Whatever Works unravels more like a stage play than real life, which, I think, is how Allen meant it. As writer and director, he has lots to say here and refuses to allow such trivialities as natural delivery stand in the way. This isn't to say that the performances are wooden, but rather that nobody talks like Yelnikoff in real life, and I'm good with that. What's important here are the ideas, constructs and situations that Allen infuses in his characters.

Interestingly, while much of the movie's theme focuses on the serendipity of life, and thumbs its nose at the divine, the film can easily be viewed from both the atheistic and spiritual viewpoint, particularly given how events unfold in a seemingly manipulated manner.

While not Allen's finest work, Whatever Works will appeal to those who enjoy a light romantic comedy, particularly one that provokes a few sparks from our grey matter, while delivering its laughs.

In New York, the bitter and grumpy Professor of Quantum Mechanics in Columbia University Boris Yellnikoff (Larry David) is a snobbish and pretentious intellectual that claims to be a genius in String Theory and that the world is completely wrong. During an existential crisis, Boris ends his marriage with Jessica (Carolyn McCormick) and jumps through the window to commit suicide. However the canopy saves his life and Boris becomes limp and quits his job in Columbia. He moves to an old apartment downtown and gives chess classes to children to make some money. When the simpleminded religious Mississippi runaway Melodie Saint Ann Celestine (Evan Rachel Wood) asks for food to him, he temporarily lodges the girl in his apartment. Along the days, the atheist Boris shapes Melodie to his thoughts and the girl, impressed with his pretentious geniality, fits his world. Despite their difference of ages, they marry each other and have a routine life. However, the world of Boris changes when out of the blue Melodie's mother Marietta (Patricia Clarkson) arrives in their apartment.

"Whatever Works" is an ironic romantic comedy about how irrational things of the heart are. The lead character Boris Yellnikoff is annoying and maybe reflects the alter ego of Woody Allen in the present days. But the black humor is hilarious and does not disappoint the fans of this great director, with cynical and witty lines. The return of Woody Allen to New York is great and shows that he has not lost his shape. My vote is seven.

Title (Brazil): "Tudo Pode Dar Certo" ("Everything Can Work")

"Sometimes a cliché is finally the best way to make one's point." Boris (Larry David)

Woody Allen's witty movies may seem clichéd (love does indeed conquer all in most of his romcoms), but they do make a humanistic point couched in Allen's pessimism and nerdiness. With Larry David playing another Allen alter ego, Boris, a self-proclaimed genius, this misanthrope in Whatever Works is the best characterization of Allen in his recent movies. The movie works for me as the smartest, most enjoyable of this summer with a message countering Allen and his alter ego's world-weariness.

It doesn't take long to look at David's work co-creating Seinfeld and starring in his own Curb Your Enthusiasm to see that this world-weary worry wart is a good choice to play an Allen-like New York Jewish intellectual. Unfortunately his lack of real acting talent is a hindrance, especially when he slips into shouting many of his lines. Yet when David plays himself more than the stuttering Allen, he becomes relaxed and believable. When David speaks to the audience several times, the sincerity is powerful.

Allen wanted Zero Mostel to play this part; his death in 1977 put the script in mothballs for decades. As an accomplished Broadway and film actor, Mostel underscores David's limited acting range.

The conceit of Whatever Works is that older Boris in his 60's hooks up with twenty-year-old Southern Melodie (Evan Rachel Wood) despite his genius mind rejecting the whole affair as trite but his heart going with "whatever works." Throughout, Allen juxtaposes the Southern innocence with Northern experience creating a situation where NYC actually transforms the Southerners into urban sybarites, no better exemplified than the transformation of Melodie's mom (Patricia Clarkson) from bible thumper to artist humper with avant garde photos and multiple lovers. Even her ex-husband, John (Ed Begley, Jr.), has a NYC epiphany of the sexual kind.

Although Allen has his characters looking for love with results that will remind you of his Everyone Says I Love You, the sweetness is replaced with a philosophy that encourages searching out whatever works because of the transitory nature of love and life.

The mixture of love and cynicism allows deep appreciation of irony and the transformative nature of experience.

First, just so you know, I'm writing this review from France... but I'm from the U.S. That, so you don't disregard this as yet another Franco-Allen fan (they've exchanged their Jerry Lewis passion for Woody over here, and sanction everything he does).

Also, disclaimer: I really like and respect Woody Allen's work and I'm also an ex New Yorker. With a Jewish wife, no less. So no, okay, I'm not unbiased.

All that said... I fully agree with "boyden" in that this movie is far better than the reviews it gets from critics. On rottentomatoes.com, for instance, this garnered a 45% rating. That's on par with non-hits like "Gigli" etc.

Yet, the dialogue was great... Larry David was as close to a Woody Allen substitute as anyone has come in a long time (Allen always casts people he can direct to sound like him, it seems)... and it made me crave that old New York, before the money of the recent pre-bust boom turned it into a homogenized has-been of a city.

Evan Rachel Wood, by the way, was overwhelmingly charming. And I thought all the other acting was excellent too, in the way people act in Woody Allen movies... which is ALWAYS different from what it is in other films (you occasionally get those moments where the lines are crafted or improvised rather than somewhere in the middle).

At any rate, it's amazing the size of the disconnect between fan response and the response of the critics... who, in my opinion, should go watch Annie Hall and Sleeper and the like so they can remember again.

For those wondering what happened to the old Woody Allen, here he is. "Whatever Works" is a script from the 1970s. I noticed that without even knowing Allen has been forthright about it. A few script rewrites -- talk about the Taliban and not the Communists -- and old Woody works in a modern context. Then again, "Whatever Works" is not a film that anyone will herald the second coming of great Woody Allen comedy, but it is one that will win over a handful of audience members.

"Whatever Works" is pure vintage Woody. Boris Yellnikoff (Larry David) is a cynical, neurotic and suicidal man that Allen would've played himself in 1977 had he been old enough. He's an elitist intellectual jerk who loves classical music and literature and spews life philosophy. He is a Harvard grad physicist-turned-chess-teacher who considers himself a genius and everyone else a peon. He delivers an opening monologue. He and the characters in this film go to the movies, reference movies and attend art gallery showcases -- and it takes place in New York. This is the comfort food of Woody Allen movies.

If one considers the film's title a mantra, then Allen must've applied it in casting Larry David. David ... works. He's got only a few gears as an actor and we've seen plenty of his main gear on HBO series "Curb Your Enthusiasm." We get lots more of it here, only Boris spouts some of Woody's wittiest lines and insults of all time. It's great, but it comes with the price that Boris is a jerk and his thoughts about life -- we only grow closer to death, love is a waste of time, there's all this crap to worry about -- make him overbearing. It's to Allen's point, but it's difficult to listen to Boris at times.

In a twist of Allen's love for cosmic coincidence, Boris meets a 21-year-old runaway Southern girl named Melodie St. Anne Celestine (Evan Rachel Wood) who he takes in and via foot in the door, ends up letting stay. She's a completely naive and uneducated stereotype, the complete opposite of Boris and all Woody prototypes (with great purpose, however). Mistaking his crafty insults and fatalistic world view for great intelligence, Melodie develops a crush on him and Boris, with his "take what you can get/enjoy what you have" mentality, agrees to marry her. All manages to work until Melodie's mother (Patricia Clarkson) finds her in New York and her traditional views act as a major countering force to their relationship.

Allen's crafty little concoction about not being able to plan for life and love and all its overwhelming negatives that can pop up at any moment is nearly charming. Truthfully, it's a bit sophomoric for his capability level in terms of comedy. The Southern stereotyping, random sharp turn of events and his choice to break the fourth wall (in a film no less) might all be leading somewhere, but it's nothing you totally bite on. The situations are funny and interesting but not believable or sophisticated enough to convince you to start popping Allen's philosophy pills.

"Whatever Works" is neo-classical Woody Allen. It's like asking your mother to cook you something she always made when you were a kid only it's 40 years later and not all the same ingredients are present and she uses some different and not as sophisticated ones as a replacement. In other words not quite what it used to be, but it's still pleasantly palatable and it takes you back in a positive way.

~Steven C

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