Match Point

'Match Point' is gripping and entertaining as well as well-made - the structure, the storytelling, the confidence of style are all impeccably crafted. The performances and cinematography in this film are all-around great. Jonathan Rhys Meyers, Emily Mortimer, and Scarlett Johansson are all excellent, and the rest of the cast lends fantastic support. This is easily Woody Allen's most plot-heavy film, and you can tell that he had a great time putting it together. Simply damn good story-telling.

A drama about lust, ambition and luck, this is the first of Woody Allen's urban adventures to be set outside New York City, i.e., in London, and with the exception of one performer, all the actors hail from Britain or Ireland. Chris Wilton (misty-eyed Jonathan Rhys-Meyers) is a former lower rung touring tennis pro from Ireland now trying to scrape by. He lands a teaching job at a toney private tennis club, where he is befriended by the handsome young Tom Hewett (Matthew Goode), who comes from a wealthy family. Chris comes round the Hewetts' house for drinks and dinner, meets Tom's sweet but marginally attractive sister Chloe (Emily Mortimer), one thing leads to another, and they marry.

Meanwhile, Chris has met Tom's fiancée, the struggling American wanna be actress, Nola Rice (Scarlett Johannson). For Chris, meeting Nola is lust at first sight. But she is off limits, until Tom breaks up with her in favor of another woman. Now, despite being a virtual newlywed, Chris pursues and impregnates Nola. The narrative then proceeds along a well worn path: Chris must somehow dispose of his predicament without sacrificing his marriage (he does genuinely care for Chloe, never mind the family fortune). Bad things happen. I cannot say more about the resolution without shamefully spoiling things for you.

This film is a mixed bag. The basic theme is formulaic. We know it from such classics as "A Place in the Sun" and "Room at the Top": poor boy meets rich girl and sees a vision of Paradise on earth. The trouble in "Match Point" is that the (anti-) hero is not nearly as sympathetic as the principled, brooding Montgomery Clift was in "Sun." Rhys-Meyers is frosty, cool, and way too untroubled until close to the end. Nor, on the other hand, does he have the slick, psychopathic charisma that Laurence Harvey mustered in "Room." Rhys-Meyers instead comes off as an unconvincing kid, for all the daring his course of action requires, in the same sense that the boyish Matt Damon did not seem up to the title role in "The Talented Mr. Ripley"; ditto for Leo DiCaprio in "Catch Me if You Can" and "The Aviator." (Regrettably, box office appeal is a very different matter than proper casting.)

I thought that Brian Cox seemed lost in his role as Alec, head of the Hewett clan; Penelope Wilton fares better as Hewett's wife, Eleanor. This brings us to the female co-leads. Ms. Mortimer is excellent as the pigeon-toed, plain but endearing, trusting Chloe, strained by her infertility and riffs of disaffection from Chris. She nails the complexities of this role beautifully.

Ms. Johansson is simply marvelous. As ever a luminous visual presence on the screen, she also shows once again her impressive range in convincingly inhabiting her characters. Her American girl here is small town coarse, provocatively seductive, and more than a little desperate. How different from her pensive, measured, well-educated, retiring character, Charlotte, in "Lost in Translation." And both so different yet from her nearly mute, servile yet perceptive Dutch maid, Griet, in "The Girl With the Pearl Earring." Ms. Johannson is not only a rising star, at 21 she is already a splendid actor.

The photography and production design are lush. I especially enjoyed the brief scenes shot at Covent Garden, though the operatic theme in general is somewhat mystifying. Is it the affectation of the rich seeming to dig opera that counts? Is there some special significance to the recurring use of ancient scratchy recordings of Caruso arias? If so, Mr. Allen has kept entirely quiet about it amidst his other comments at the film's website. The best things in this movie are its "luck" theme, its visual delights, and the two female leads. The rest is just OK. My rating: 8/10 (B+). (Seen on 01/18/06). If you'd like to read more of my reviews, send me a message for directions to my websites.

What a throughly engrossing evening Woody Allen has provided. This film has been, by and large, poorly received by the British critics. I cannot understand why. Yes, it does have the strongest echoes of Crimes and Misdemeanours, but if a director/writer can't borrow from his own product, who can? This isn't funny Allen -- there are few laughs -- but it is an extremely intense and successful serious Allen.

Does Allen's magic transfer to my home city? You bet it does; lovely locations; Notting Hill, the Tate Modern, the "Gherkin" in the City, all look great but are also entirely relevant. Many critics said he didn't have an ear for British dialogue. I simply don't hear that -- it may be a bit stagy at times, but the writing is spare, to the point, and literate. Few trans-Atlantic clunkers.

Yes, there are some silly bits; bits where you wish any half-intelligent Englishman had watched the film and said "Wood, old son, this is cobblers". British detectives don't call themselves "Detective so-and-so". They might be Detective-Sergeant or whatever. The force that polices London is the Metropolitan Police, not the "London Police". Perhaps Allen didn't realise that his main copper, Ulster actor James Nesbitt, sounds a parody of the amusing roles he plays in some widely-seen British Yellow Pages adverts. Little things, so easy to iron out, that detract just a touch from credibility.

Scarlett Johannsson -- what an actress, is she really only 20 or whatever? She packs huge power and stunning looks, if occasionally getting a trifle near Glenn Close in Fatal Attraction. Jonathan Rhys Myers does his forlorn sports coach bit, as from Bend It Like Beckham. The solidly Brit supporting cast is entirely believable, even if their effortlessly affluent lifestyle takes a bit of swallowing. Genuine surprises at the end. This is a thoroughly satisfying evening at the movies.

Match Point is a cool, classically elegant and concise film that addresses all of the big questions--love, morality, death, fate, chance--without ever seeming heavy or self-conscious. I've never seen a Woody Allen film to match it. As a matter of fact, I can't remember another film of late that I thought was quite this good. From the opening shot, the film draws you in and doesn't let up, moving from shot to shot with a fine sense of rhythm and a narrative drive that builds the viewer's curiosity through a series of unexpected switchbacks. Rhys-Meyers is superb as an ex- professional tennis player from a poor Irish background who has turned social climber. Too proud to accept a favor from his upper class friends without immediately offering to pay it back, he affects an interest in opera and Strindberg. The viewer at once sympathizes with him and winces as he strains to seem refined and self-assured. Allen has put together a superb cast of young actors who bring his near flawless script to life so convincingly that one almost immediately suspends disbelief and becomes absorbed in the story. The shots of London are luxuriant and spacious, never self-indulgent. Few films, novels, or plays manage to form such rich dramatic material out of characters' inner obstacles. A classic piece of drama that reaches toward the likes of Shakespeare and Dostoevksy, every facet--from structure to dialog to editing to sound--is brought off with panache. This is not only Allen at his best but an example of what the cinematic medium is capable of when properly exploited.

...and what a great stroke of luck it is to have sat through Woody Allen's latest, "Match Point." Fans of Woody could sense his comeback in the tragedy half of his last effort, "Melinda and Melinda." It was far more compelling than the comedy half, and the philosophical ideas it brought up were the best Woody Allen had given us in a long while. Here with "Match Point" he explores the notion of luck and gives us his best film since....well, since I don't know when. He proves here that when he leaves himself out of the cast, and changes locations (the transition from New York City to London is as flawless as it is invigorating), he can deliver the goods. This film, free of all the typical Allen shtick, and full of noirish twists and surprises, is every bit as good as Robert Altman's "The Player" or "Gosford Park," and like those two films, it's the best kind of return to form you could hope for from a past master.

Chris Wilton (played moderately well by Johnathan Rhys Myers, who comes across as a more handsome Joquin Phoenix) is a failed tennis pro from Ireland who gets a plum job at a snobbish country club in London where he meets up with Tom (an appropriately British Matthew Goode), woos his sister, Chloe (an adorable Emily Mortimer), and has an affair with Tom's flighty fiancée, a struggling American actress named Nola (a ravishing Scarlett Johansson). The film starts off like a more refined version of last year's tawdry affair, "Closer," with Allen exploring the love lives of semi-bored, over-educated filthy rich Brits who when not hopping in and out of each other's beds are hob-nobbing at the opera, the latest art exhibit, or lounging around their lavish estates reading and drinking. There's also a hint of "The Talented Mr. Ripley" in its exploration of the class system and Chris' obsession with infiltrating this exclusive and beguiling society. Thankfully, we're spared all of the weirdness of an atrocity like "Ripley," as Allen keeps it all very clean, sheen, clever and classy.

The film takes some dark turns and has some operatic overtures, spiced with some Dostoevsky references and plenty of pondering on luck. Allen here doesn't seem to be writing off the need for hard work completely, but to achieve a truly privileged life, where one can get away with just about anything, you better have a lot of luck.