September

Wasn't in the mood to watch a film last night, but couldnt remember seeing Denholm Elliot in a Woody Allen movie before, so realised this was one I hadnt seen before.

Can't say as I was 'entertained' - but I was gripped and rooted to the sofa for the duration, which could say something about my sofa of course, but was really down to this film. The dialogue and acting were both utterly convincing - and there were many moments of intense honesty. Just for once, relationships don't resolve, nor are we rescued from darkness by gratuitous humour. It's a stark, depressing beautifully acted piece of claustrophobic drama. More your Webern 'five pieces', rather than your Strauss, 'Der RosenKavalier'.

If nothing else - it's nice to be reminded that not all scripts are written by a gang of 12 year olds....

Between his serio-comic reminiscence Radio Days and the searing adult drama Another Woman, Woody Allen made September, a reflective, introspective chamber-piece on his favourite themes of childhood, adultery, love and loss. One imagines that the chilly critical and public response will shift to one of admiration and wonder as the years shift, such is the haunting power of this masterpiece.

Mia Farrow plays Lane, an unsuccessful photographer recovering from a breakdown in her autumnal apartment, the golds and rusts of the season chiming with the forlorn tone of the story. She falls in love with a visiting writer (Waterston), who appears to be drifting away from her, since he is besotted with Lane's sister Stephanie (Wiest). Barely taking an interest is the sisters' self-absorbed mother (Stritch) and her insecure third husband (Warden). Denholm Elliot rounds out the principal cast as a kind family friend, his love for Lane unspoken.

There are many great moments in this complex, brilliant film, but two in particular remain long in the mind. First is the "love scene" between Waterston and Wiest. Wiest says - torn - that to begin an affair would be "impossible" and exits. Then, slowly, she turns and walks back into the room, shutting the door. Wiest has never been better than in this film, than in this moment. A startling, beautifully realised epiphany, boiled down to a look, a bow and a smile. The second great sequence comes with the shattering denouement, which I shan't spoil for you here.

Allen's straight dramas certainly aren't for all tastes, but for those who can take them the rewards are vast. There has never been a screenwriter with a better ear for dialogue and in his "serious" films, Allen creates fascinating, utterly believable characters. The performances are pitch-perfect throughout, with Wiest, Farrow and Stritch all on career-best form. As always Allen's use of lighting and music is spot-on; here he showcases Art Tatum and Bernie Leighton, providing an evocative soundtrack to an unforgettable film.

Simply brilliant.

Made by Woody Allen in his serious mode, the drama "September" is not as impressive and fine as "Another Woman" but it is still an interesting movie. Chekhov said once about the characters in his plays, "People sit at the table, drink tea, talk politics, and at the same time their hearts get broken". In this regard, Allen's "September' is a very Chekhovian movie ("Uncle Vanya" comes to mind first). The film takes place inside a country house in Vermont where several characters, friends and relatives of Lane (Mia Farrow), a fragile and troubled young woman recovering from a nervous breakdown, get together for a rainy weekend in the end of the Summer. The weekend will be filled with the drinks, conversations, tender and delicate music. Six characters will fell in and out of love; the friendships will be betrayed, the hearts will be broken, a hidden family secret will come out. Along with the characters, we will reflect on love, mother-daughter complicated relationship, family secrets, aging, loneliness, longing, emotional crises, and self doubt as six cultured and intelligent individuals will try to find the meaning and the purpose in their lives. The film brings to mind John Cheever's observation: "The main emotion of the adult American who has had all the advantages of wealth, education, and culture is disappointment." There are a lot of disappointments, regrets and unhappiness in the characters of "September" but the weekend will be over, the rain will stop. There will be the possibility of hope in the future. The sun always comes after the rain.

Woody Allen tried to duplicate the success of Interiors with this movie, which is just as downbeat but well acted, especially by Mia Farrow. It didn't win him any new fans and was a somber follow-up to two of his more popular '80s films (Hannah & her Sisters and Radio Days). The blackout in the middle of the movie is what most people (myself included) seem to remember most, but Farrow's character really does get to you. What she goes through, and puts up with, in this movie will make you want to stick your head in the oven. Not a pleasant experience (any movie with a suicidal main character is not going to be), with most of the action taking place in a large farm house (which makes the film a little more stagy than most of Allen's works). Many of Woody Allen's stock actors from his late '80s and '90s films show up, and Elaine Stritch is wonderful. But the film is a thoroughly sad one and does not lend itself well to repeat viewings, unlike his other somber dramas (Interiors and Another Woman).

Woody Allen in this movie brings to us the story of a group of people all staying at a summer home in the country. It's a very dark and claustrophobic place. And at this place we learn so much about the characters. This is a very deep character study and I think it's the best Allen "bergmanesque" film he's made. It has been highly underrated by people and critics. I feel it does not get any of the recognition it should. And Mia Farrow's and Sam Waterston's performances are magnificent.