Everyone Says I Love You

Psychologist Steffi Dandridge (Goldie Hawn) and lawyer Bob Dandridge (Alan Alda) head a liberal upper class Manhattan family. The extended family includes Steffi's ex Joe Berlin (Woody Allen), their daughter Djuna Berlin (Natasha Lyonne), Skylar (Drew Barrymore), Lane (Gaby Hoffmann), Laura (Natalie Portman), grandpa with dementia and the black sheep Republican son Scott (Lukas Haas). Holden Spence (Edward Norton) is in love with Skylar. Von (Julia Roberts) is one of Steffi's patients. Charles Ferry (Tim Roth) is an ex-con.

This is a Woody Allen musical. The music is easy listening and everybody does a good job singing. Some are surprisingly good but the songs aren't terribly challenging. The overwhelming family can be hard to take. I would have preferred some trimming of the family tree. It would have been better to concentrate on one relationship. The effect is a bit scatter shot.

So, Everyone Says I Love You is pretty much the typical Woody Allen comedy, complete with all the staples that define his oeuvre; lots of neurotic characters, a performance from the man himself, New York City...only this time, there's one big difference - it's also a musical. It's well known that Woody Allen is a big fan of cinema, and therefore it is not unreasonable to assume that this film is Allen's tribute to the classic musicals of yesteryear. Everyone Says I Love You is typically Woody Allen in spite of the obvious difference in genre to the rest of his movies. I'm not a fan of musicals, and if I were to be overly critical of this film; I would say that it would have been better as a straight comedy-drama, without the musical element. However, it's the musical side of the piece that gives it it's unique edge, and dropping that from the film would have ensured that it isn't the movie that Allen wanted it to be. Not to mention the fact that the musical side of the movie makes it striking in the way that only Woody Allen can be.

For this film, Woody Allen has put together a terrific cast. Of course, a number of stars is part of Allen's trademark, but I think he outdid himself with the cast of this movie, which includes the likes of Edward Norton, Natalie Portman, Drew Barrymore, Julia Roberts, Goldie Hawn, Tim Roth, Natasha Lyonne and Alan Alda. Not to mention Woody himself. I'm not a fan of all of those film stars, but seeing a number of familiar faces in a movie together is always a treat for a movie buff. The song and dance sequences in the film aren't all that well put together, as the songs are largely unimaginative and the film fails on the whole to capture the grandeur of the classic musical. However, the drama side of the movie is very strong; and as usual, Woody's script is funny, touching and obscure in equal measure. He's given himself the best part, and has most of the other characters commenting on how great he is, but Woody Allen without a huge ego just isn't Woody Allen. I don't rate this as a movie at the very peak of Allen's filmography, but it's a strong one and it's recommended to his fans.

Woody Allen takes us back to the true form Broadway musical and adds splashes of droll, post-modern sensibility and humor. A charming film. The balance of characters and their foibles, showtunes and milieu. Existentialist song and dance with a touch of dark romance.

In an old fashioned musical, the loves and losses of an extended upper-class family in Manhattan are followed in song from NY to Paris and Venice.

The company logo comes onscreen followed closely by the white title on a black background. Seconds later we are into the first song as two young lovers walk in the park - and it's not until 100 minutes later that it lets you go again. The plot is nothing more than lots of strands of love and loss tied together by family connections. None of the stories really have any great significance but are backed up by wit and some charming song and dance numbers. This is whimsy at it's very best.

It feels like Woody Allen has really relaxed and is making films that hark back to an older age - indeed his usual style is tuned down a little to make it more accessible and more enjoyable. He has several black characters, his humour is witty but less cruel than usual and his narrative is driven by a teenage girl rather than himself. It feels so free of his usual cynicism that it adds to the weightless charm it already has. He handles the song and dance scene with such vigour and such imagination that you find yourself wondering why he hasn't done a musical before.

The superb cast all catch the charm and light feel perfectly. Not all of them are great singers but they all do well and give their best (except Barrymore who refused and was dubbed). The usual stars are complimented by plenty of well known faces - Alda, Goldie Hawn, Lucas Haas, Portman, Tim Roth, Roberts and of course the wonderful Edward Norton.

This is 100 minutes of lightweight wonder. It has no rough edges, no difficult issues, no cruel jokes and very little swearing. Only the coldest heart could fail to warm to this little charmer.

Not just any filmmaker should be entrusted with the delicate and precarious genre of the musical. Woody Allen would probably be the last person I'd expect to see work up a musical. He's gotten a lot more experimental in some of his more recent works, so it's of no surprise. I think what makes this film work is in its charm and the love of 30's musicals that is behind it. This really is an ode to the old black and white musicals and to the classic love stories of the same period. Now, on the level of Woody Allen's catalog, this one does not rank very high, but in comparison to television shows that have the occasional musical episode, this one hits its mark. The reason I mention the last comment is because there are some actors in here that never would they be expected to sing in a film. Maybe they shouldn't have, but there is just a lot of love behind this production that you've just gotta smile.