Film Review: Whatever Works

Whatever Works
Directed by Woody Allen
Released June 19, 2009

Any director who establishes himself inevitably starts essentially making the same movie over and over again. In some cases, an attempt to branch out is made, like Martin Scorsese, who moved from gangster pictures like “Mean Streets” and “Goodfellas” to period fare like “Gangs of New York” and “The Aviator.” Some, like Steven Spielberg, shed their fantasy roots of “Close Encounters” and “E.T.” to tackle important subjects in “Schindler’s List” and “Munich.” Those directors eventually come back to what they originally knew and loved – Scorsese with “The Departed” and Spielberg with “War of the Worlds” – but something’s changed, and it’s a positive thing. “The Departed” is hip and quick, and “War of the Worlds” is a thrilling action piece whose effects can at least be defended by most. Woody Allen tried fantasy elements with “Curse of the Jade Scorpion” and “Scoop,” and ventured into dark drama with “Match Point” and “Cassandra’s Dream.” Now he’s back to his original area, and, in his case, not much has changed.

Allen, now 73 years old, has perhaps realized that it’s a bit of a stretch for people to believe that he’s still some dashing, irresistibly handsome intellectual who can make young, pretty woman fall head over heels in love with him (not that he necessarily ever could, but his characters certainly imply that it’s the case). The story is still generally the same: an older man with a pessimistic view of life, who charms a young ingénue (with his lack of charm) into falling for him and his unique outlook. Characters, especially Allen’s lead, banter expectedly. It’s a traditional Woody Allen story, set in New York and following a distinctly Woody Allen character through his various highs and missteps. The trouble is, the slightly appealing Allen isn’t the one leading the charge.

Larry David made a name for himself writing “Seinfeld.” His later show, “Curb Your Enthusiasm,” picked up on the former’s theme of not having any real theme, save for Larry offending someone in some dastardly way at nearly every turn. David isn’t really an actor, simply uttering his humorous quips as he might deliver them at a dinner party or talking to his wife at home. On “Curb Your Enthusiasm,” it’s not a problem. No one is supposed to like Larry. But when David has the starring role in a motion picture where he’s not supposed to be playing Larry David, it gets in the way. Allen has a wonderful way of making the audience forget he’s so thoroughly obnoxious because there’s something inherently unthreatening and likeable about him. With David, that’s not the case. He’s constantly rude, and doesn’t seem to feel the need to impress even himself. Worse still, he’s supposed to be an elitist intellectual, which means that he knows he doesn’t need to work hard in any other area of life because he’s smart enough to get through on his wits alone. People like that may exist, but they don’t make for terribly interesting protagonists, especially when Allen’s screenplay is pretty much already written and polished in audiences’ minds before the token Allen credits roll at the start of the film.

David’s intrusive nature plagues the entire film since he is its critical center, but fortunately, a number of highly skilled actors pop up throughout the film to offer their dramatic abilities. Evan Rachel Wood adopts a Southern accent and dim-witted attitude which would probably be able to tame Allen, though she doesn’t have a shot against David’s perpetual ignorance of her. Patricia Clarkson earns her typical “best in show” award as Wood’s flamboyant mother, whose transplantation from Mississippi to New York transforms her in a radical way. Ed Begley Jr.’s brief role as Clarkson’s former husband is also fun, but Allen should really look back at his older films like “Crimes and Misdemeanors” and “Hannah and Her Sisters” to appreciate how he successfully used so many actors in small parts. Begley has little to do, and Michael McKean, who is capable of being flat-out hilarious, isn’t given a single scene to show off his talents. Allen’s characters have always been self-absorbed, and David’s Boris is so full of himself he takes up the entire movie. The tragic mistake there is that he’s its least interesting character, and he’s unbelievably familiar – a clear takeoff on so many past Allen incarnations. This film is more like last year’s “Vicky Cristina Barcelona” in the way that its premise makes for a fun trailer indicating cleverness, but once the movie gets going, it’s clear that it isn’t headed anywhere interesting. It contains a number of very funny lines, but they’re smushed together in the middle of an unexciting story and crammed into Boris’ rants like items on a checklist. The aimlessness of “Whatever Works” makes it seem like Allen just isn’t trying anymore. He’s content with what he’s produced in the past, and wants to make more. He likely thought, based on his history, whatever works.

C