Another Woman

Rating:
Summary: another Bergman homage
Review: Students of the films of Ingmar Bergman can easily list the similarities between this Woody Allen film and Bergman's Wild Strawberries. In fact there exist so many that I could easily use the 1000 words in listing them, but that would leave no room to draw attention to the things that make this film diverting. Of course Allen's sensibility is very different from Bergman's. Part of what makes Wild Strawberries so memorable are Bergman's gothic dreams - who can forget the driver-less carriage containing a coffin that crashes onto a road in front of Victor Sjostrom, the mask-faced man he meets, the witnessing of his wife's ravishment by another man, the medical exam he fails, or the scenes with Bibi Andersson at his childhood summer house ? Allen wisely doesn't attempt to copy Bergman in this way. Instead he has the overheard voice from a psychiatrist's office as the catalyst for Gena Rowlands (in the Sjostrom role) to re-assess the life she thinks has been one of missed opportunities. By making the character female, Allen can add the choice of having children at the cost of a career to the scale, and the fact that Mia Farrow as the overheard voice is clearly pregnant and carrying Allen's child can be no coincidence. The best scenes are those which involve the expression of emotion, particularly when it is seemingly embarassing, which repeats the theme of Allen's Interiors, with emotionalism associated with being Jewish and unemotionalism Gentile. (You can guess which side childbirth falls on). In memory Betty Buckley as the first wife of Ian Holm, interrupts a party, Sandy Dennis as a childhood friend becomes jealous of the attention her own husband gives "another woman", and poor Holm can hardly hope when Rowlands confronts him with accusations. When Allen presents characters who are meant to be "cerebral" his dialogue takes on a doughy quality, such as "I seduced you, intellectually", "There are times when even a historian shouldn't look at the past", and "I must have seemed very bland to him after he met you". Lines like the historian one are camp/howlers, so it's a relief when other lines are intended to be funny, like Holm's ineffectual "I accept your condemnation", and Dennis' "We didn't just drift apart. I withdrew". It's also refreshing when Allen uses physical action in his confrontations - Buckley pushing Holm away and Rowlands grappling with Philip Bosco as her first husband. Allen also continues his expressionist use of staging, with actors walking out of frame while still talking, Rowlands following Farrow walking in the street edited to the rhythm of their footsteps, and the screen half split by a wall when Rowlands is in a restaurant. He also scores a laugh after Buckley's scene with the cut to Make Believe played on the piano in a hyper version, and the way the dialogue of Jacques Levy as Dennis' husband brackets Dennis' anger - "You should never drink" . One of the weaknesses in Wild Strawberries was that, because Sjostrom was so likeable, it was hard to believe the accusations made against him, so Rowland's stiffness here works for her character, without hiding the actors skill. The way she is dressed and her hairstyles actually recall Ingrid Thulin from the Bergman film, though in her Movie Love collection of reviews Pauline Kael notes that the braided knot on the back of her head "looks as if it had been cast in bronze". The fall colour scheme and the use of Kurt Weill's Bilbao Song define the mood of the piece, however the use of Satie's Gymnopedie No. 3 over a memory of Rowlands with Gene Hackman is more effective, with it's suggestion of sadness and longing.

Rating:
Summary: "You should be the actress"
Review: There are several aspects that make this movie excellent, including the intelligent dialogues, the psychological aspects of the narration and the fact that a complex story can be presented in only eighty minutes. These are some of the reasons why Woody Allen is considered by many to be one of the most gifted directors ever. Of course, those that usually do not like Allen's style will not find solace in this movie, but the rest of you will probably appreciate the quality of this production.

Marion Post (Rowland) is a philosophy professor who is taking a leave of absence to write a book and who has rented an apartment to be able to do this peacefully and without any interruptions. The apartment is next door to the office of a psychiatrist and she realizes that she can hear the sessions through the air vents. At first she covers the vents to prevent invading the patients' privacy, but later she hears the sad voice of a woman (Mia Farrow) after one of the cushions covering the vent moves from its place. From that moment on she is hooked and cannot help herself, so she continues eavesdropping into the sessions of the mysterious woman.

Marion starts identifying herself with some of the accounts of this woman and understands that she may actually be dissatisfied with her life too, mainly with her choice of husband and career. From that point forward the psychological aspects of the story become the central focus around which the action revolves. The dreams, memories and reality of Marion's life interact with each other, making us doubt at times if certain events are really happening or not. The final result is an interesting look at the psyche of the main character and her relationship with others.

As it is usual in Allen's movies, there are coincidences galore with chance encounters that reunite old friends and current acquaintances, but the story remains believable all the time. One of the most notable aspects of the film is the outstanding cast, with Rowland playing her role to perfection and other renowned actors and actresses adding their fair share. The performance of Gene Hackman is praiseworthy, and even though his participation is fairly brief, he leaves a lasting impression. If you have not seen any films by Woody Allen, this one is as good a place as any to start.

Rating:
Summary: AWESOME is an understatement...
Review: This is an absolutely awe-inspiring film from Woody Allen.
Not in any way a lighthearted romp, this is rather a soul-wrenching film which literally forced me to re-evaluate my life, as it does on each subsequent viewing (of which there have been many).
Not giving away any plot details, suffice it to say that Gena Rowlands is simply magnificent here. In a mere 80+ minutes, you will be convinced, as am I, that this is one of our greatest living actresses and a true legend (for another great Rowlands performance, do not miss Cassavettes' earlier "A Woman Under the Influence").
If you are in any way thoughtful and/or introspective about your life and what you've accomplished (or haven't accomplished), do NOT miss this. Also: be prepared to look at yourself not as you perceive yourself, but rather as OTHERS see you, which (for me anyway) was very disconcerting but also extremely enlightening.
This is one of a handful of truly great modern dramatic films which literally raised the bar for all filmmakers to come.

Rating:
Summary: AWESOME is an understatement...
Review: This is an absolutely awe-inspiring film from Woody Allen.
Not in any way a lighthearted romp, this is rather a soul-wrenching film which literally forced me to re-evaluate my life, as it does on each subsequent viewing (of which there have been many).
Not giving away any plot details, suffice it to say that Gena Rowlands is simply magnificent here. In a mere 80+ minutes, you will be convinced, as am I, that this is one of our greatest living actresses and a true legend (for another great Rowlands performance, do not miss Cassavettes' earlier "A Woman Under the Influence").
If you are in any way thoughtful and/or introspective about your life and what you've accomplished (or haven't accomplished), do NOT miss this. Also: be prepared to look at yourself not as you perceive yourself, but rather as OTHERS see you, which (for me anyway) was very disconcerting but also extremely enlightening.
This is one of a handful of truly great modern dramatic films which literally raised the bar for all filmmakers to come.

Rating:
Summary: To Be....Or Not To Be
Review: This is definitely Woodman's best "serious" movie, from conceptualisation (in-depth understanding of what contemporary women want), to casting (Gena Rowland was superb, always evoking the much-needed sympathy of her plight; not least supporting players like John Houseman et al).

One thought-provoking question emerged from "Another woman" - "Is it better to remain in control and to not live a life of full abandonment; or to follow the heart and go through endless serial monogamous relationships if one were truly blessed with luck, decent looks, social status, power or wealth (pardon my skepticism)?

What makes "Another Woman" such an effective, heart-wrenching story to watch is the inevitablity of it all. In light of the transience of love, passion, romance and male-female relationships, most women, or men for that matter,have become so jaded, and are nine times out of ten conditioned to think with nothing but their heads, to become die-hard believers of "mind over matters". And in return for the greater good of financial, and hopefully, emotional independence, a life-long process of loneliness and solitude.

Rating:
Summary: Mature Woody
Review: Woody Allen's seventeenth film, 'Another Woman,' is one of his greatest accomplishments. While one can argue that it owes thematic and visual debts to Ingmar Bergman, Allen's work here remains solely his own. In numerous interviews, Allen claimed to feel more attracted to serious, dramatic works than to comedic ones - it just so happened that he was given a talent for comedy. In 'Another Woman,' Allen proves he has the potential to be a great dramatic filmmaker. After seeing this film, one wishes that he had devoted more time to creating works such as this (although he does have two other dramatic masterpieces: 'Interiors' and 'September').

'Another Woman' offers a glimpse into the mind of a successful philosophy professor named Marion. The movie follows the trail of her thoughts as they drift from attention to world around her to the deepest realms of her dreams and thoughts. Allen chose to use voice-over narration to progress the film. In most cases, I have been opposed to this technique - feeling that film is essentially a visual medium and should concern itself primarily with images rather than words. However, 'Another Woman' proves to be the rule's exception. Marion's narration depicts the method in which she attempts to put her life in order and to block her own perceptive abilities.

'Another Woman,' while exposing the numerous social complexities we all face, may concern itself predominately with the idea of perception. Marion, a philosophy professor, is awaiting the anniversary of her marriage to a doctor named Ken - with whom she had an affair with years ago. Both Ken and Marion have failed marriages behind them and both have been criticized for being 'cold.'

Gena Rowlands' rendition of Marion is that of a woman who places such emphasis on appearing composed and intelligent that she fails to realize that her friends and family, the ones who care for her and depend on her, all resent her in one fashion or another. In her 'perfection' Marion has positioned herself above all others - assuming the right to judge those around her. What makes Rowlands' performance so memorable is her ability to make the audience care for this seemingly cold woman; we realize the good intentions behind her actions, as do we sense Marion's inability to see the nature of her own actions.

Gene Hackman (who played the part of Harry Caul so brilliantly in 'The Conversation' - one of my favorite films) turns in an effective performance as well, although his screen time is somewhat limited. He plays the one man in Marion's life that is capable to see the passion within her. Hackman's character probably understands Marion better than anyone; and it is with regret in the end that she looks back on her missed opportunity with him.

The film unfolds in a mesmerizing fashion. 'Another Woman' shows us the inside of a woman who gradually begins to lose her grip on the delusions she crafted for herself. The cinematography, done by the legendary Sven Nykvist, is among Allen's most accomplished works in color; each image flows into the next, making us almost forget the non-linear nature of the movie's almost stream-of-consciousness technique. Choosing to work in this manner, Allen became free to do anything he wanted. With 'Another Woman,' Allen has accomplished a subtle film that touches on many feelings, but comes together to form a thoroughly entertaining motion picture.

Rating:
Summary: Mature Woody
Review: Woody Allen's seventeenth film, `Another Woman,' is one of his greatest accomplishments. While one can argue that it owes thematic and visual debts to Ingmar Bergman, Allen's work here remains solely his own. In numerous interviews, Allen claimed to feel more attracted to serious, dramatic works than to comedic ones - it just so happened that he was given a talent for comedy. In `Another Woman,' Allen proves he has the potential to be a great dramatic filmmaker. After seeing this film, one wishes that he had devoted more time to creating works such as this (although he does have two other dramatic masterpieces: `Interiors' and `September').

`Another Woman' offers a glimpse into the mind of a successful philosophy professor named Marion. The movie follows the trail of her thoughts as they drift from attention to world around her to the deepest realms of her dreams and thoughts. Allen chose to use voice-over narration to progress the film. In most cases, I have been opposed to this technique - feeling that film is essentially a visual medium and should concern itself primarily with images rather than words. However, `Another Woman' proves to be the rule's exception. Marion's narration depicts the method in which she attempts to put her life in order and to block her own perceptive abilities.

`Another Woman,' while exposing the numerous social complexities we all face, may concern itself predominately with the idea of perception. Marion, a philosophy professor, is awaiting the anniversary of her marriage to a doctor named Ken - with whom she had an affair with years ago. Both Ken and Marion have failed marriages behind them and both have been criticized for being `cold.'

Gena Rowlands' rendition of Marion is that of a woman who places such emphasis on appearing composed and intelligent that she fails to realize that her friends and family, the ones who care for her and depend on her, all resent her in one fashion or another. In her `perfection' Marion has positioned herself above all others - assuming the right to judge those around her. What makes Rowlands' performance so memorable is her ability to make the audience care for this seemingly cold woman; we realize the good intentions behind her actions, as do we sense Marion's inability to see the nature of her own actions.

Gene Hackman (who played the part of Harry Caul so brilliantly in `The Conversation' - one of my favorite films) turns in an effective performance as well, although his screen time is somewhat limited. He plays the one man in Marion's life that is capable to see the passion within her. Hackman's character probably understands Marion better than anyone; and it is with regret in the end that she looks back on her missed opportunity with him.

The film unfolds in a mesmerizing fashion. `Another Woman' shows us the inside of a woman who gradually begins to lose her grip on the delusions she crafted for herself. The cinematography, done by the legendary Sven Nykvist, is among Allen's most accomplished works in color; each image flows into the next, making us almost forget the non-linear nature of the movie's almost stream-of-consciousness technique. Choosing to work in this manner, Allen became free to do anything he wanted. With `Another Woman,' Allen has accomplished a subtle film that touches on many feelings, but comes together to form a thoroughly entertaining motion picture.

Rating:
Summary: Charles Dickens was better
Review:  How would you like to see Glena Rowlands cast as Scrooge? Dicken's " A Christmas Carol" was brilliantly updated by Bergman in Wild Strawberries". Woody would like to be Bergman ( instead of his usual fictional self, the wise-cracking self obsessed unattractive guy who woos by wit ). The trouble is we don't care about the characters in this film. Scrooge works because we feel for him, Wild Strawberries works because we can care for the old professor. Woody Allen's "serious" films fail, not because they don't conform to sterotype, they fail because he is bitter and really without sympathy for his characters. It is not enough to show someone realizing how disconnected or cruel they have been, the art, which is missing here, and also missing from Woody's other serious films, is to bring us to love in some measure the protagonists and hope for their redemption.

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