Magic in the Moonlight (US, 2014)
UK Release by Sony Pictures Classics – 19th September 2014
Written and Directed by Woody Allen
Brief Synopsis: A profound romantic comedy about a pessimistic yet largely successful magician sent to unmask a likely fraud in the South of France.
Woody Allen manages to dispel a number of his perilous qualms surrounding mortality and the meaning of life into this loveably quotable and highly imaginative little picture. My favourite line from the film being: “You’re born, you commit on crime, and then you’re sentenced to death.” It is simply a delight for fans. There is ample intelligence to be sourced beneath the dialogue and turn of events in this film; it is a lesson in existentialism and it will open up a wonder of insightful queries for your mind to dwell on (but, don’t dwell for too long!). There are illustrious characters in tasteful dramatic conflict, elegant costumes, classy music, amiable and warm cinematography and just about whatever else you’d expect from Allen. However, if you aren’t a fan of Allen’s work, forget it, you will hate the film!
The plot is straightforward and the twist is undeniable, but this is no reason not to seep with enjoyment. In this case, one can know what to expect from Allen and that be the pure reason for the enjoyment. The charm and wit of his filmmaking is on show and it is an admirable trait, so thoroughly grounded in his vast body of work that we can forgive the odd slip-up and count it for bonus points.
Colin Firth plays the pessimistic magician who acts as we imagine Allen himself would; the character evidently explores Allen’s feelings and beliefs, as every good writer hopes to achieve through their characterisation. Firth is cast well and acts with the clear self-loathing and doubt that is needed for the typically unfriendly hermit. Although, I continue to struggle with his persona, the sly appearance that finds its way into all his films. However, it fits the character here, so the traits merge rather uncannily. Every turning point for Firth is leaps and bounds and one might feel a gurgle of over-acting, yet in the world of this hopeless world, the latter becomes manageable and a flamboyant image of the 20s. At times, I would have found the film more appealing if Allen had taken on the role, no doubt he would have been flapping all over the place, but he might have carried off the part with greater conviction (because he would be playing himself). This reminds me of Kenneth Branagh’s performance of an Allen archetype in Celebrity, which was spot-on; unfortunately, with Firth that isn’t the case so you have to give him an alternate epitome.
Emma Stone, dare I say, is somewhat divine in her portrayal of the young socialite spirit seeker. She is the perfect gauge of timid and alluring. Every subtle gesture can be read a number of ways, and it becomes clear that everyone is falling head over heels for her intriguing ways. There is the comedy that Stone brings to the character that excels; one can imagine a young woman travelling away from America in the 20s to be having just as much fun and commotion. Her obsessive admirer and the rest of his family are catastrophically ludicrous and provide much amusement in the way of tantalising prose and burlesque behaviour. Allen’s characters always sound wildly fictitious, yet they frankly resonate in conveying the truth behind certain ways of human beings and thus implement profound meanings. This makes a film special, and for me it is what makes Allen’s so enthralling.
There is a curious substance in Allen’s films that is hard to expound, it is neatly wrapped up in his pictures; the ingredient might be a direct belief explicated to the audience but without the bite; it is a piece of an artists integrity. Allen’s genius has not wavered despite what many critics say; the Allen that many of us know and love is still there to enjoy and explore further, as every new picture entails. I believe audiences get lazy when an artist grows old; I say stop reminiscing over Annie Hall and view each picture in the light of a fresh or, rather, more refined soul. Magic in the Moonlight explores the meaning of life and its inexplicable possibilities more head on than ever before; one way of looking at it is that the poor man still has no answers to life and its multifarious frustrations!