Melinda and Melinda

Of course we communicate. Now can we not talk about it anymore? I wanted to start with that because it is the only funny line in the film. If you don't believe me, click on the Memoralble Quotes option at the side of this page. Also, now you have heard the only funny line you do not need to see the film.

If you do see the film, you will find that it is a strange combination of Woody Allen's previous work. It contains two sets of lookalike actors in parallel story lines, just like Deconstructing Harry. It has a framing device of a philosophical discussion in a bar, just like Bullets over Broadway. The subject matter is the relentless marital infidelity, affairs, divorces and re-couplings that are familiar from Manhatten. The Wallace Shawm character sums up the film by saying "…comic or tragic, the most important thing is to enjoy life while you can because we only go round once and when its over, its over,,, and it could end like that" with a snap of his fingers. Well I suppose that is a reasonable summing up of Allen's view of life and, to be fair, many of us would agree with him in this post-God, age of the individual. The line about only going round once is a bit difficult to take though since Allen has clearly been round this particular block quite a few times.

The conceit of this film is that the same story can be told as either a tragedy or a comedy, paraphrasing Marx's remark that "history repeats itself, first as tragedy, then as farce." We see Melinda, played by Radha Mitchell, as the only common character in two similar stories. I hesitate to call the stories tragic and comic because the truth is that they are rather similar, not very tragical and not very funny. I got confused with the lookalike characters until I realised that whenever Melinda had her hair in a mess we were watching the tragedy, when it was tidy we were watching the comedy. That's about the extent of the tragedy, she was having a bad hair day.

Have you ever had one of those days when life seemed terrible and everything in your world made you miserable?

But then have you had one such day and, in a moment - maybe after a word from a loved one or friend, or a sudden flash of inspiration, or even a physiological stimulus such as a cup of coffee - realised things weren't so miserable after all - maybe even had tears of sorrow turn to tears of laughter? And if those tears keep flowing, aren't they the same tears?

A couple of playwrights, New York intellectuals, are idly discussing the 'life is tragedy or comedy according to your perspective' theme in a Manhattan café. So starts Woody Allen story in Melinda and Melinda. Working from a basic storyline, a girl arriving unannounced at a dinner party, two alternative stories unfold, one comic and one tragic. Both overlap without being identical, in themes, the actress playing the visitor, and sometimes even dialogue.

I started off concentrating hard to make sure I didn't confuse the two interwoven tales, and also concentrating hard to see if a deep philosophical point was going to be made. After half an hour or so I stopped giving too much effort to either and just sat back and enjoyed.

As entertainment, Melinda and Melinda contains so many wonderful ingredients - wit, pathos, hilarity, great acting, suspense, moral intrigue. Visually it's also very pleasing - from the lovingly crafted and vibrant New York interiors of which Allen is so fond, to the eye candy in the form of hunks like Chiwetel Ejiofor (the captivating suitor to one of the Melindas) or the remarkable Chloë Sevigny.

Sevigny, in a supporting role, gives a beautifully nuanced performance. As an actress, she has not relied on her sylph like looks but adamantly stuck to parts in (largely) Independent films that both develop her as an actress and show her commitment and integrity in her profession.

But the main role, that of Melinda(s), is reserved for Radha Mitchell, who has to play both a seriously (and slightly scary) tragic persona, hair and worn features showing her traumatic life, and then moments later the comic Melinda whose madcap gaiety puts a sparkle into proceedings. Both roles are pushed - especially in a scene where each Melinda tries to throw herself from a window. The difference between comedy and tragedy is mostly visible in Melinda.

Woody Allen is a professional filmmaker that consistently churns out movies on a very reasonable budget, some better, some worse, but very rarely is there one that doesn't provide a passable hour and a half of entertainment for the price of admission. There are some people who mostly dislike his work, or are only won over by masterpieces such as Hannah and Her Sisters, or ones that come close, like Deconstructing Harry or Mighty Aphrodite. Melinda and Melinda is probably not in either league, but it is still a very worthwhile accomplishment. It made me laugh, it made me cry, it's a moving film in places and plays with ideas like suspension of belief. And yes, it made me think - but so much so that serious reflection got in the way of pure enjoyment.

There are plenty of flaws - the basic idea never rises above armchair philosophy, there is no great resolution to bring a sense of meaning after the film has finished. The difference between tragedy and comedy for instance, while it might be separated by a hair's breadth in the cosmic scale of things (or within writers' building blocks), is very real for people undergoing real tragedy. Laughter can be justified more easily when it lightens suffering, rather than laughing at it or ignoring it. Cinema has its limits. Interestingly, Allen's cinema has plenty of self-imposed limits that suggest it doesn't take itself too seriously - no expensive special effects, A-List stars only in moderation, no lingering close-ups for actors to practise Oscar-begging expressions; it borrows far more from European than British or American cinema. He seems to get on with the job instead of making it all-important in itself. Even his own philosophising seems not to draw direct attention in his films. "I have an extremely pessimistic outlook and so to me the glass is always empty. Not half empty, but completely empty. My feelings are summed up by the character who says, in effect, that life is basically tragic but there are little islands of comedy in it."

If you have very fixed views about Woody Allen films you will already know whether you want to go and see Melinda and Melinda. For others, you may find that the deft delivery of comedy is worth more than a cursory glance. Allen's prolific output, occasional innovation, and his apparent consistent ability to follow his own agenda rather than that of the big studios mark him as someone to watch both now and by film historians.

Ironically, for someone with such an outlook, he contributes many 'little islands of comedy' to what might be seen as a long-suffering and out of touch industry. I definitely enjoyed this bout of island hopping.

This film probably marks the crucial point where Woody Allen takes one step back and lets others take over the Woody persona of a typical Allen film. It's happened before, in Celebrity and Anything Else, but now the lead characters can breathe as themselves without having to essentially 'be Woody'. Sure the resemblances are still there but more in the situations than in the characters. Will Ferrell displays proper comic timing and Jonny Lee Miller tries valiantly with what he's given. The script sparkles with more one-liners than most recent efforts and an appropriate return of the 'lust for life' motif seen in earlier films such as Hannah and Her Sisters or Everyone Says I Love You. If you don't appreciate that comic situations are both sad and full of life, and that tragedy has a fair share of unexpected delights as well as heartache, than you're definitely missing the point. Woody displays both of these in equal quantity spread liberally throughout the film in all situations. And so what if the end plays more like a series of sketches than a full-on film? It's the mark of a master than can make us enjoy what we see regardless of narrative form. 8 out of 10.

Woody Allen as a stand-up comedian saw the humor in some of life's injustices. Here he suggests infidelity is one of those injustices. At first glance, this "open" attitude seems at odds with the fact that virtually all Woody Allen films have been love stories (even Bananas!); maybe they're really falling-in-love stories. To dramatize this story, he wisely included Rhadha Mitchell, Chloe Sevigny, and Chiwetel Ejiofor, whose performances were as hypnotic as their names (the others, in lesser roles, were also good). What happens is routine; it's just a set-up to evaluate various ways of reacting to infidelity. Some of the dialog is among the best I've heard. How we react to setbacks can be an important part of our lives (not as important as showing up, of course). Woody Allen's philosophy of life isn't rocket science: when possible, have a good time. And bring a friend.

It's curious how after having been apart for a good many years, Mia Farrow and Woody Allen seem to surface in this movie, playing the central roles. In casting Rhada Mitchell and Will Farrell, the director gives the Mia character to the young Australian actress who has an uncanny resemblance to the young Ms. Farrow, and his alter ego is played by Mr. Ferrell. The best thing Mr. Allen did in this film was to cast someone else to play the role he always gives to himself.

The idea of "Melinda and Melinda" is not bad. However, the situations, even if they are theatrical, at heart, feel fake. The resolutions of the issues in both aspects of the drama, or the comedy, being discussed by some local intellectuals at Pastis, the restaurant, don't produce a logical conclusion. In fact, both stories playing at the same time, have a way of disorienting the viewer.

The casting doesn't help either. Rhada Mitchell, is out of her league playing Melinda. Will Ferrell as Woody Allen, please! The talented Chloe Sevigny and Chiwetel Ejiofor do what they can, but we just don't believe for a moment about their situation, nor do we care what happens to these bunch of pretentious Manhanittes that are one dimensional at best.