Woody Allen is a director who divides opinions. Detractors point to his clouded personal life and the nature of his movies, which see a constant re-examination of similar issues, while devotees regard him as a latter day Aristotle, with an eye for witticisms and an unparalleled understanding of the eternal human condition.
Following a fallow patch that harks back to 1999's Sweet and Lowdown, the prolific director returns to familiar ground with Melinda and Melinda, focusing on the lives of the intelligentsia of New York's exclusive Upper East Side.
Proceedings begin with a philosophical conversation in a New York café, concerning the exploits of an uninvited guest to a dinner party. While one protagonist pens comedies, another is the writer of tragedies, and both present their own take on the same situation.
Through tragic eyes, Melinda (Radha Mitchell) barges back into the life of schoolfriend Laurel (Chloe Sevigny) - a Park Avenue Princess, who likes to lunch and shop - and her actor husband (Jonny Lee Miller). The troubled Melinda comes complete with several afflictions, notably a failed marriage to a doctor and he loss of a custody battle to her two children, thanks to restrictions placed by her spouse. Despite a failed attempt at mismatching, Melinda finds love again in the guise of tender pianist Ellis (Chiwetel Ejiofor), but sure enough, the overriding theme continues
Meanwhile, the happy go lucky Melinda enters the lives of actor Hobie (Will Ferrell) and his ambitious director wife Susan, (Amanda Peet). While Hobie plays each part with a limp, Susan is set to secure financing for her latest film, and after Melinda's comical suicide attempt, she becomes a part of their lives. Farrell does his best to portray the familiar Allen caricature, complete with neurotic nuances and biting, wise-guy retorts. All in all, it is a very passable likeness (despite several physical differences) - several lines could have been muttered by Allen himself - yet Farrell succeeds in adding an extra, boyish dimension to the role. But I digress, as Melinda becomes the centre of a Shakespearean storyline, complete with comedy twists and turns and the obligatory happy ending.
Both stories are intertwined in typical Allen manner. His beloved New York plays no small part in the picture, while scenes are moulded together with the ubiquitous jazz soundtrack. As with many of his films, the central characters hail from the upper echelons of society, and conversation is similarly elitist at points, but this is tempered by some humorous moments.
It is a large step to move from Neighbours to the lead role in a Woody Allen picture, and despite her inability to convincingly smoke a cigarette, it is a journey which Radha Mitchell just about gets away with. But it is the excellent Chloe Sevigny who steals the show with an impressive performance of age beyond her 30 years.
As with the concept for the film, whether Melinda and Melinda would appeal to you comes down to your outlook of life. As a Woody Allen fan, I found myself on familiar territory, and while it is nowhere near his best work, it is pleasant to see that Allen can still handle both comedy and tragedy in equal measure.
Following a fallow patch that harks back to 1999's Sweet and Lowdown, the prolific director returns to familiar ground with Melinda and Melinda, focusing on the lives of the intelligentsia of New York's exclusive Upper East Side.
Proceedings begin with a philosophical conversation in a New York café, concerning the exploits of an uninvited guest to a dinner party. While one protagonist pens comedies, another is the writer of tragedies, and both present their own take on the same situation.
Through tragic eyes, Melinda (Radha Mitchell) barges back into the life of schoolfriend Laurel (Chloe Sevigny) - a Park Avenue Princess, who likes to lunch and shop - and her actor husband (Jonny Lee Miller). The troubled Melinda comes complete with several afflictions, notably a failed marriage to a doctor and he loss of a custody battle to her two children, thanks to restrictions placed by her spouse. Despite a failed attempt at mismatching, Melinda finds love again in the guise of tender pianist Ellis (Chiwetel Ejiofor), but sure enough, the overriding theme continues
Meanwhile, the happy go lucky Melinda enters the lives of actor Hobie (Will Ferrell) and his ambitious director wife Susan, (Amanda Peet). While Hobie plays each part with a limp, Susan is set to secure financing for her latest film, and after Melinda's comical suicide attempt, she becomes a part of their lives. Farrell does his best to portray the familiar Allen caricature, complete with neurotic nuances and biting, wise-guy retorts. All in all, it is a very passable likeness (despite several physical differences) - several lines could have been muttered by Allen himself - yet Farrell succeeds in adding an extra, boyish dimension to the role. But I digress, as Melinda becomes the centre of a Shakespearean storyline, complete with comedy twists and turns and the obligatory happy ending.
Both stories are intertwined in typical Allen manner. His beloved New York plays no small part in the picture, while scenes are moulded together with the ubiquitous jazz soundtrack. As with many of his films, the central characters hail from the upper echelons of society, and conversation is similarly elitist at points, but this is tempered by some humorous moments.
It is a large step to move from Neighbours to the lead role in a Woody Allen picture, and despite her inability to convincingly smoke a cigarette, it is a journey which Radha Mitchell just about gets away with. But it is the excellent Chloe Sevigny who steals the show with an impressive performance of age beyond her 30 years.
As with the concept for the film, whether Melinda and Melinda would appeal to you comes down to your outlook of life. As a Woody Allen fan, I found myself on familiar territory, and while it is nowhere near his best work, it is pleasant to see that Allen can still handle both comedy and tragedy in equal measure.