Whatever Works turns out to be one of the funniest Allen films I have seen in recent years. How could it not be? It the first straight up comedy he has made since 2003's Anything Else. Most of his films since then have played more towards the dramatic or thriller side of the coin, with most coinciding with his departure from New York City for more European locales. Even with my limited Allen experience, it is nice to see him return Stateside and turn out a zippy banter driven comedy.
The movie opens with Groucho Marx singing "Hello, I Must be Going" from Animal Crackers, serving as the film's theme song and summing up much of what Boris Yellnikoff (Larry David) is about. We move from there to watching the activity that likely takes up the majority of Boris' time. What could that be? Why holding conversation/lecture his friends on the finer points of life around them and how pretty much hates all of it.
Boris then turns to the screen and begins to tell his story to a non-existent audience. It is a brilliant breaking of the fourth wall. From here we move onto the story proper where we get to learn a bit more about what makes Boris tick. In particular, we learn about his "whatever works" philosophy and how love is a funny thing and you never know when you may be called up to give some, take some, or share some, just be ready for its fickle nature.
One day, he returns home to discover a poor girl at his door begging for food. He initially rebuffs her begging, but eventually relents and invites her in. The girl is Melody St. Ann Celestine (Evan Rachel Wood) and she buys into what Boris is selling, hook, line, and sinker. The two end up becoming an item, much to the chagrin of everyone, including Boris. Things get even stranger when her mother (Patricia Clarkson) and father (Ed Begley Jr.) arrive, separately, considering their estranged status.
A number of characters float into view, all of whom give meaning to the "whatever works" philosophy. They are transformed by the city around them, their eyes are opened, their minds cleared of the barriers that have been put in place. They recognize the change inside of themselves and they act appropriately.
The performances are all quite good. Larry David has a very distinct style and his mannerisms and delivery are perfect for a Woody Allen character. He is funny, confident, and cannot believe anyone could dare believe he is anything other than right (I feel like that sometimes). Then there is Evan Rachel Wood, whom I did not even recognize until the closing credits, and she is pitch perfect as the young girl of Boris' life. She brings sunny optimism, naivete, and the desire to trust anyone and turns into a near art form. It is a fantastic performance, which is one of the best of her young career.
As for Woody, it seems to fall well within the parameters of what made classic Woody so great. It may not be one of his best, but it is definitely a change of pace from his recent fare and a step from his past two films. His direction is minimal, as his focus is on the characters and dialogue (I suspect this is the school of thought that Kevin Smith subscribes to). What shines is his dialogue, there is plenty of it, it is smart, witty, and delivered in rapid fire pace.
Bottomline. I am glad I made the trip to see this one. It gives some actual content that will stick with you and is genuinely funny. It is very Woody Allen and will therefore not be for everybody, but give it a shot, you may surprise yourself.
Recommended.
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