Vicky Cristina Barcelona Review
Posted by Erik Luers on 08.26.2008
Woody takes on some pretty heavy themes in this poignant romantic comedy....
You know, Woody Allen really has something for women. In all of his films, he seems to be able to seek out both the beautiful and talented, and with his latest effort, he gives another three gorgeous women a chance to really shine. Allen seems to be using their attractiveness to get our attention, perhaps in order to segue into their pathos and insecurities. They're more than a pretty face, possessing the same desires, needs and fears as anybody else. Vicky Cristina Barcelona is a film about women trying to connect; they're main desire is to be loved and taken care of, even if they can't admit to it just yet.
Our lead heroine, Vicky (played by British actress Rebecca Hall) is neurotic and jumpy; she's the Woody Allen of the group. She is about to be married to her fiance back in New York City, but not before first taking a trip with her good friend Cristina (Scarlett Johanson) to Barcelona, where a relative of hers resides. They discover the city to be a beautiful, exotic place, filled with fascinating museums and interesting people. One night at a nearby restaurant, after perhaps a few too many glasses of wine, the two women are approached by well known painter, Juan Antonio (Javier Bardem). They've heard stories about how he and his ex-wife, Maria Elena (Penelope Cruz) got into many a nasty fights (once she tried to murder him), but they are nonetheless intrigued by his suave and no nonsense nature. He asks the women if they would like to take a ride on his private jet to see his nearby hometown; they'd be back within a few days. He also mentions that perhaps they could engage in a few threesomes with one another throughout the evenings.
Surprisingly, he sweeps Cristina off her feet; she is intrigued (turned on?) by his matter of fact, blunt approach. Vicky, on the other hand, is not completely sold on the idea. After all, she does have her American lover, Doug, to worry about, not to mention that nonsense about being faithful to him and everything. Reluctantly, she agrees to go, as she can at least watch over her good friend. Things proceed to get hot and heavy.
Like most of Woody Allen's films, the plot is just an excuse for his fascinating characters to interact and grow. Although I've just described the opening twenty minutes of the film, the plot doesn't really kick into high gear until about the midway mark. So what? Just listening to these people express themselves is intriguing enough. Vicky is all about having her future planned out, securely tied in a bow, while Cristina is more sexy and adventurous, willing to try new things. Since they are pretty much polar opposites, the two women compliment each other nicely. When Allen introduces Juan Antonio into the mix, he is purposefully throwing a wrench into Vicky's carefully set order. Perhaps she should lighten up and have an affair in this exotic location; it may just do her some good. She is clearly attracted to him, regardless of whether or not she is aware of it. Indeed, she fears that by betraying someone she loves (or thinks she loves), she will be alone with no one to care for. Juan Antonio is an illusion, a symbol designed to put Vicky's true morals to the test.
Analyzing Annie Hall in my "Please Do Not Forget..." column, I wrote "Alvy admits that love does not make sense, but that we should each attempt to discover it regardless. We may find something special. It is a fitting conclusion to a story that has come full circle." With this new film, Allen seems to have discovered that we sometimes do not realize when we have something truly special. When Vicky finally gives in to Juan Antonio's advances, she is left with more questions, more concerns, and more heartache. This painter is not the answer to her happiness, but rather a key figure in solidifying her relationship with her fiance. The idea of Juan Antonio does not challenge her beliefs, but confirms them. As the droll but important narration implies, these women aren't sure of what they want, just of what they don't. By the end, Vicky may very well know what she wants. Cristina, on the other hand, is still looking.
The 411: I've neglected to mention the richly detailed performances in this film. They are all of the highest caliber, but special attention must be given to Rebecca Hall and Penelope Cruz. They both give it their all, exerting their energy to form characterizations both wildly special and theatrical. These two ladies reach new heights here, and I look forward to their future projects, as they are both very talented and beautiful. Woody Allen uses them to create a film both deep and sly, realistic and poetic. This is one of the summer's best films.
