Friday, July 13, 2012

Woody Allen, Master of Suspense?


This post is my contribution to The Best Hitchcock Films Hitchcock Never Made blogathon hosted by Tales of the Easily Distracted and Classic Becky's Brain Food. Click here for more information and links to participating blogs.
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On the face of it, the only thing Alfred Hitchcock and Woody Allen seem to have in common is the distinction of being aknowledged as preeminent auteurs. As Michael Newton put it in The Guardian earlier this year, "Along with Alfred Hitchcock, Allen must be the most recognizable director in the history of cinema."

Hitchcock, who spent most of his career working within the studio system, developed the habit early on of planning and shooting his films so carefully that they were virtually immune to being re-cut by anyone else. Then, in 1954, he entered into a deal with Paramount that allowed him to work autonomously, provided generous production budgets and gave him ownership of those films he both produced and directed. Allen‘s career as a director took off in the 1970s, just as a new generation of independent-minded filmmakers swept into Hollywood. Almost from the beginning he had a remarkable arrangement with his financiers and distributors: as long as he stayed within budget he would have complete artistic freedom. Hitchcock, who began in the silent era where he gained experience in art direction, was influenced by German expressionism and Soviet montage theory and approached film as visual storytelling. Allen began as a writer and, naturally, has relied more on dialogue and use of the long master shot in his films. Hitchcock became synonymous with big movies with high production values while Allen has made films with an "art house" sensibility and appeal on relatively small budgets.

And yet, in 2005 Woody Allen made a film of distinctly “Hitchcockian” elements. Match Point is a sexy thriller about luck and morality set in modern-day London. The film showcases two intensely magnetic stars, Jonathan Rhys Meyers (Bend it Like Beckham, Mission Impossible III, The Tudors) and Scarlett Johansson (Lost in Translation, Iron Man II, The Avengers).

 
With a little luck it goes forward and you win. Or maybe it doesn't, and you lose...

Chris Wilton (Rhys Meyers) is a former professional tennis player hired by a posh London tennis club as an instructor. There he meets Tom Hewett (Matthew Goode), scion of an extremely moneyed British family. The two become friendly and when Tom discovers Chris enjoys opera, he invites him to join his family in their box at the Royal Opera House for a performance of La Traviata. There Chris meets Tom’s parents and his eligible and instantly smitten sister, Chloe (Emily Mortimer); romance blooms. Soon after, Chris meets Nola Rice (Johansson), Tom’s luscious fiancĂ©e, an aspiring American actress. While the Hewett progeny are attractive enough physically, their wealth, position and lifestyle of culture and privilege are even more appealing. Chris and Nola are good-looking, charismatic creatures and, much as each knows they are onto a good thing with their respective lovers, sparks fly between them.

Jonathan Rhys Meyers and Scarlett Johansson as Chris Wilton and Nola Rice

This Woody Allen-penned, Oscar-nominated story could easily have appealed to Alfred Hitchcock who knew not only the value of a good, well-scripted story, but also made two films about tennis playing protagonists with problematic relationships and status issues who become involved in murder. In Strangers on a Train (1951), competitive tennis player Guy Haines aspires to a loftier position in life and hopes to divorce his small-town floozy wife so he can marry the daughter of a U.S. senator. In Dial M for Murder (1954), retired tennis player Tony Wendice, who has discovered that his wealthy wife has been carrying on a serious love affair, fears he may lose his meal ticket and cushy lifestyle.

But before any inkling of murder surfaces in Match Point, Chris, who is headed for marriage to Chloe and a good job with “one of” her father’s companies, develops a fascination with Nola. When, one day, he runs into her on the street, the two end up having drinks together. They talk about themselves and their relationships with Chloe and Tom and the elder Hewetts. Nola remarks that Eleanor, Tom and Chloe’s mother, hates her but that Chris is more fortunate, he’s “being groomed.”

Nola: You’re going to do very well for yourself, unless you blow it.
Chris: And how am I going to blow it?
Nola: By making a pass at me.
Chris: What makes you think that’s going to happen?
Nola: Men always seem to wonder. They think I’d be something very special.

Scarlett Johansson will portray Janet Leigh In "Hitchcock" (2013)
The two laugh, but Chris is powerfully tempted. Scarlett Johansson's Nola Rice begins as an assured, almost taunting beauty confident of her sexual appeal. She isn't quite the Grace Kelly version of the Hitchcock blonde, but falls somewhere between the worldly hedonism of Ingrid Bergman at the beginning of Notorious (1946) and Kim Novak's subdued sultriness in Vertigo (1958). A blonde who flirts with danger, Nola is Hitchcock's kind of woman.

When fate eventually provides the moment, the two indulge in a frenzy of passion, but Nola warns, "this can't lead anyplace." Chris goes on to marry Chloe and Tom later breaks off with Nola (Tom: "mother poisoned the well"). Chris adapts to life on the corporate fast track, he and Chloe move into a spectacular, glass-encased apartment overlooking the Thames and she is soon fixated on becoming pregnant. The vitality begins to drain from Chris's life. As luck will have it, he and Nola meet again and this time she, who is beginning to lose her self-confidence and show slight signs of wear, is available. A torrid affair begins. As Chris embarks on a double life, the atmosphere quickens with tension. When his romance with Nola hits the wall of reality and she begins to pose a threat, unrelenting suspense mounts until a neatly executed plot twist brings unexpected resolution.

The man who said, "I'd rather be lucky than good" saw deeply into life...

What helps to create the film's tension and suspense are themes and motifs that echo Hitchcock:
  • The Wrong Man - Occasionally Hitchcock turned this theme on its head and the-innocent-man-accused would be a secondary character rather than the protagonist. This character's sudden death puts an end to further police investigation. The device is employed in both Blackmail (1929) and Shadow of a Doubt (1943)  - it also occurs in Match Point.
  • Doubles - A recurrent Hitchcock theme in which two characters seem kindred spirits until their bond is broken. Classic examples are the relationships between Guy Haines and Bruno Anthony in Stangers on a Train and "the two Charlies" in Shadow of a Doubt. Chris and Nola appear to be two of a kind when they meet over a ping pong table. But, as she learns, he plays "a very aggressive game."
  • Obsession - Vertigo is a virtual meditation on obsession, but Hitchcock contemplated fascination several times. Young Charlie is enchanted by her Uncle Charlie in Shadow of a Doubt, Bruno is obsessed with Guy in Strangers on a Train, two young men are enthralled with a philosophy in Rope (1948), in Rear Window (1954) L.B. Jeffries becomes obsessed with his neighbors' lives and his belief that a murder has been committed. In Match Point, Chris develops a fixation on Nola; later, their roles reverse.
  • The staircase motif is an image Alfred Hitchcock used frequently - famously in Suspicion (1941), Shadow of a Doubt, Notorious, Strangers on a Train, Vertigo and Psycho (1960). Staircases are prominently featured in Match Point.
  • The dominant mother is another Hitchcock trademark. Mrs. Bates is a powerful unseen presence in Psycho; in Notorious, Mme. Sebastian has all but emasculated her son. Outspoken Eleanor Hewett's disapproval of Nola in Match Point is pivotal.
  • Landmarks are common backdrops for important scenes in Hitchcock films - the list is long, from the British Museum in Blackmail forward. Match Point showcases London landmarks including The Tate Modern museum, The Royal Opera House at Covent Garden, the stunning Parliament View Apartments and The Queen's Club. Unlike Allen's treatment of New York in Manhattan (1979), Match Point is no homage to a city, rather, the attractions of London enhance the film's narrative.
Jonathan Rhys Meyers
As well known for his ability to cast a film as Alfred Hitchcock, Woody Allen has said that his philosophy is to “hire the best actors, shut up and get out of their way.” One of Match Point’s great strengths is its cast, especially Jonathan Rhys Meyers in the central role. His Chris Wilton subtly and evocatively transforms from a beguiling “boy from Ireland come to London” who would like to do something special with his life, to a remote and preoccupied rising executive with dark secrets on his compliant conscience. Rhys Meyer’s sympathetic introduction along with selective point-of-view camera work engages the viewer; Chris is captivating. By the time he has fallen into desperation and is entangled in murder, we find ourselves complicit and anxious about his fate. Hitchcock managed this trick many times with his proclivity for point-of-view editing and masterful casting. Who could help but identify with Robert Walker’s Bruno Anthony in Strangers on a Train as he struggles to retrieve a lighter from a drain so that he can plant it as false evidence? Who doesn't share the nervousness of Anthony Perkins’s Norman Bates in Psycho as he waits for a car to sink after he’s pushed it into a swamp?

Woody Allen was elated with Match Point and was quoted widely at the time of its release saying he considered it his best film to date. Everything had come together, he said, and the production had been blessed with luck. Every actor exceeded his expectations, there was no trouble gaining access to desired locations and even the weather cooperated. He reflected that the storyline lent itself to the film medium and he’d been able to take advantage of that, focusing on action as much as dialogue. The movie, best described as a “moral thriller,” was his first successful drama and reinvigorated his career. Allen’s screenplay was nominated for an Oscar and Jonathan Rhys Meyers was awarded the Chopard Trophy at Cannes.

Filming Match Point: Scarlett Johansson and Woody Allen on the set

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Sources:
Conversations with Woody Allen by Eric Lax, Knopf (2007)
Woody Allen: cinema's great experimentalist by Michael Newton, The Guardian, January 13, 2012 (quote only)

43 comments:

  1. I'm not really a Woody Allen fan, so.. I have not seen many of his films. But, after reading your awesome review, I'm looking forward to watching "Match Point".. which sounds like it has a great cast and many unexpected Hitchcock, twists and turns.

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    1. Dawn, "Match Point" might surprise you. As ever with Woody Allen, there is intelligence behind the work, but there is no reliance at all on humor. I was literally shocked the first time I watched it. Woody was 70 at the time and hadn't had a popular film since "Sweet and Lowdown" in 1999. My reaction was, "Wow!"

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  2. Excellent comparison between Hitchcock and Allen, and a well-written review. I was never tempted to see this movie (not a big J. Rhys Meyers fan) but I think you've changed my mind!

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    1. silverscreenings, "Match Point" was my introduction to Jonathan Rhys Meyers - and what an introduction. It's still the best thing he's ever done and proof that he has the talent to take on complex roles.

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  3. Wow! You've outdone yourself. This is one of the best articles I've ever read anywhere. I'm not a huge Woody Allen fan, but this film sounds like one I need to watch. Beautiful job weaving the Hitchcock themes that appear in this film into your piece.

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    1. Gilby, "Match Point" is much more action-driven than most Woody Allen films. My first thought after seeing it was that Woody had done his version of a Hitchcock film - and ingeniously. It is one of my favorite of his films. Top five.

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  4. As a worshiper of both Woody and Hitch, how could I not love this film? It is a real departure for Woody, which is one reason it is so enjoyable. A well written and insightful post and extremely enjoyable!

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    1. FlickChick, No surprise to me that we visit the shrines of the same directors. Yes, this was quite a departure and very well realized. I was happy to learn that Woody was so satisfied with "Match Point" since he tends to be critical of even his best work. I thought Jonathan Rhys Meyers deserved an Oscar nomination for his performance.

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  5. This is really good - very meticulous, and it shows you know your stuff. I am fan of both Allen and Hitchcock, but when I watched Match Point I wasn't acquainted with Hitch, so I never made the connections. And I haven't really given it much thought since then (it's been 7 years!), so this is the first time I've ever heard of the similarities. I just may watch Match Point again, tonight!

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    1. Film Flare - I hope you do watch "Match Point" again, tonight. In my most recent viewings - and since I was watching with Hitchcockian tropes in mind - I was much more aware of similarities, as noted. I didn't really pursue the element of moral ambiguity in this piece, but, obviously, neither director was a stranger to that theme...

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  6. I love Hitchcock and I love Allen, but when you can combine them (even if just in our thoughts) that is something really special. I was amazed with "Match Point" when I first saw it, and every time since I have been just as pleased. Certainly a Woody Allen film that doesn't seem like anything else he ever made. Thanks for the great post and for talking about two of my all time favorites!

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    1. Lasso, It was great fun to consider a Woody Allen film from the perspective of the Hitchcock style. Of course, "Match Point" is not simply an "in the style of" film and has the unmistakable imprint of its director, and yet it is impressive how versatile Woody can be. He's 76 now and still going strong, bless him.

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  7. I read your review here early this morning and am just getting around to commenting. One of my favorite Woody's and a late career game changer. Somehow Woody managed to morph into Alfred Hitchcock! I don't know how he did it but it ranks as one of his best. Your bullet points are spot on. Scarlett Johannson is a great cool, dangerous blonde. Everything in this film works. Great work here Eve!

    BTW I linked your review here to my new Twenty Four Frames FB page. Here's the link.

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  8. Sorry, I meant to add the link to my 24Frames FB page.


    http://www.facebook.com/pages/Twenty-Four-Frames/248062688642678

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    1. John, I would love someday to do a collaborative piece on favorite Woody Allen films, there are such diverse opinions on which are his best (and there are only 44 films to consider!). Most agree, though, that "Match Point" ranks at or near the top. I thought "Match Point" might be his final great film, and then along came "Midnight in Paris." The man has his hits and misses but never ceases to amaze.

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    2. Woody continues to surprise. I caught TO ROME WITH LOVE last weekend and if I had to place it somewhere it would probably be classed as mid-little Woody. Not as bad as YOU WILL TALK TO A DARK STRANGER and certainly not as good as MIDNIGHT IN PARIS. Still, it has its share of laughs and it does have Woody.

      If you are interested in doing something collorative let's talk.

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    3. Woody's "strategy" is to make a film every year, this allows him to invent a world he can inhabit for about 10 mos. of the year, he says. With a schedule like that it's no wonder his filmography is a mix of great and mid-level films along with some real misfires.

      I'll contact you by email about collaborating on a piece about our favorite Woody Allen films.

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  9. Eve, “Match Point” struck me as a return to the romantic suspense thriller roots of “Crimes and Misdemeanors”, which so impressed me fifteen years earlier. The difference being that while Allen relied more on humor in the first, in the second he found the sophisticated wit that is a hallmark of Hitchcock’s films. Allen also found in Jonathan Rhys-Myers and Scarlett Johansson a beautiful couple with loads of chemistry, which Hitchcock knew instinctively was necessary to carry the mystery forward. I especially admire you approach to the “compare and contrast” sections, which provide not only a basis for “Match Point’s” similarities, but deeper insight into both director’s philosophy of film, an excellent contribution.

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    1. 'Gypsy, I agree with you completely that the film's mystery is enhanced and advanced by its two stars. Allen knew they were right for their roles but they actually surprised him by surpassing his expectations. "Match Point" as a whole exceeded his expectations. He also seemed very pleased that he had finally been able to make a successful film without relying on humor. There is one fairly comic character, a rental agent, but his moment is very brief. The film does work well as a social satire. The banal twittering of the two silver spoon-fed Hewett children, Tom and Chloe, can be amusing - it's as if no thought of any substance ever passes through either of their sweet, empty heads.

      There are definite similarities in plot and theme between "Match Point" and "Crimes and Misdemeanors," but I don't see the latter as a thriller, really. For me, it lacks that element of excitement that seems essential to a thriller. In any case, it does anticipate "Match Point."

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  10. Eve, I'm so glad you were able to be part of our BEST HITCHCOCK MOVIES (THAT HITCHCOCK NEVER MADE) Blogathon! I'll admit that I've only been able to catch MATCH POINT on cable in bits and pieces (just plain busy), but as a longtime fan of both Alfred Hitchcock and Woody Allen, I was very interested in learning more about it, and I'm looking forward to finally watching the whole thing from start to finish sooner rather than later. Woody Allen has truly grown as a filmmaker over the years, and from what I can see (including your helpful and intriguing YouTube clips), the great cast, writing, U.K. locations, and of course, the direction, I definitely want to catch up with MATCH POINT from start to finish, and soon! Thanks again for your great post, and for joining the Blogathon fun; you rock!

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    1. Dorian, I managed to post my contribution on time, whew! The "Best Hitchcock Movies (That Hitchcock Never Made) blogathon is a great concept and, as a blogger, it has been one of the most interesting and enjoyable I've participated in. Kudos and thanks to you for all your effort. I hope you do have a chance to watch "Match Point" start to finish sometime soon. It's very well made and engaging. A must-see for Woody Allen fans.

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  11. I meant to watch this at some point, but just never got around to it. But after reading your post I am definitely adding this to my queue. I must admit I'd never thought of Woody Allen in comparison with Alfred Hitchcock so your selection came as a surprise Eve.

    But once I read your take, I can only agree. Great choice.

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    1. Yvette, I came to "Match Point" not long after it surfaced on pay-per-view - I'm sure I'd been aware that it was receiving strong reviews and had done well. But I had no idea what to expect - and certainly didn't expect to be reminded of the Master of Suspense.

      I hope I haven't spoiled it for you by giving away most (but not all!) of the plot.

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  12. I loved Match Point! Such a great cliffhanger and you think it's going to go one way, but it goes another. It really was an, "I didn't see that coming," kind of film.

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    1. Lesley, The unexpected ending underscored the film's theme and philosophical underpinnings perfectly. A surprise plot twist at the end is something Hitchcock had down ("Stage Fright," "Vertigo," "Psycho") but wasn't associated with Woody Allen at all - 'til "Match Point." No one saw it coming...

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  13. I really like this movie so glad to see it get some attention in a great write-up! Love all the details and comparisons to Hitch films. Great read!

    Aurora

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    1. Aurora, "Match Point" is destined to be one of the all-time stand-outs in Woody Allen's filmography and I've been wanting to do a piece on it for a long time. Thankfully, Dorian and Becky came up with this blogathon theme and gave me the perfect opportunity.

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  14. Eve, a great post in which you persuasively suggest that "Match Point" might be seen as a nod to Hitchcock in the way "Stardust Memories" is to Fellini and "Interiors" to Bergman. You found many points of comparison between Hitchcock's films and this one to bolster this view. I think "Match Point" is Allen's best film in many years, but I find it impossible to think of as a Woody Allen film. If you saw this without knowing who directed it, he would probably be one of the last people you would think of. It was always obvious that he was a perceptive observer of human behavior, but this films reminds us that he is a deeper thinker and more serious student of cinema than he likes to let on.

    The one thing that made me uncomfortable was the death of Margaret Tyzack, which was as cold-blooded as the murder of the pawnbroker in "Crime and Punishment" (which seems to be one of the inspirations for this film). Speaking of Tyzack, as a fan of great British actors, the ones in this film were one its great appeals for me--in addition to Tyzack, Brian Cox, Penelope Wilton, and Emily Mortimer, and several faces familiar from British TV.

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    1. R.D., How do I love thy comments, let me count the ways...

      I don't know that I originally believed Woody Allen was nodding in Hitchcock's direction as he had to other directors earlier on with "Stardust Memories" (a favorite) and "Interiors." But as I re-watched "Match Point" recently and one Hitchcock element after another surfaced before my eyes, I thought again. Allen doesn't directly acknowledge nodding to Hitchcock when he discusses "Match Point," but he does mention the differences in their styles and remark that Hitchcock would've constructed certain scenes more brilliantly. The philosophical dialogue in the film does seem very Woody Allen to me, though "Match Point" is less dialogue-driven than Allen's other serious films.

      Chris is seen reading "Crime and Punishment" at the beginning of the film (while researching for this piece, I was reminded that "Crime and Punishment" is mentioned in "Rope") and it was his discussion of Dostoyevsky with Alex Hewett (Brian Cox) that initially impressed his future father-in-law. The murder of the neighbor shocked me but, in terms of the plot and its character implications, it didn't bother me.

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  15. A wonderful and insightful post, Eve - you obviously put a lot of thought into it's writing. "Match Point" is a fantastic film and, as R.D. Finch pointed out, Woody channels Hitchcock as successfully as in earlier films he sometimes channeled Bergman or Fellini, among others - perhaps more successfully. I also think there is as much Dostoyevsky in "Match Point" as there is Hitchcock, which is what might connect it philosphically with "Crimes and Misdemeanors", when it's so different in so many other ways. Woody nailed it on this one. Perhaps he considered it his best film up to that point because it came off as a film devoid of any of the familiar Woody Allen identity (Woody never seemed to be a big Woody Allen fan). I thought that also could have been said for "Interiors", which was steeped in Bergman, except I thought that film was pretty awful (I don't recall one second of intentional humor in that film). I think Woody has been long in pursuit of the devastating effect that mines moral and philosophical conflict - he definitely achieved it in "Match Point".

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    1. MCB - If Woody Allen was consciously channeling Alfred Hitchcock with "Match Point," it is, in my opinion, his ultimate homage to another director's signature style and/or genre. I'm not certain it was conscious, though. Allen does have a penchant for mysteries (a "junk tooth" he calls it) and had visited this particular territory before ("Crimes and Misdemeanors").

      You're right about the Dostoyevskian themes shared by "Match Point" and "Crimes and Misdemeanors." And the two films have a major plot point in common, as well. But "Match Point" possesses far more suspense, not to mention glamor, so that it succeeds both as a thriller and, because the moral issues aren't underplayed, a serious drama.

      Hitchcock's "Rope" was also, and obviously, influenced by Dostoyevsky. "Crime and Punishment" is mentioned in a scene no doubt because the murder that is the centerpiece of the film is carried out by two young men enamored with a philosophy similar to that of the novel's central character.

      Both of Allen's protagonists go on with their lives. Judah has restored, if not redeemed, his life. Chris seems to have grown remote and chilly. By the final scene his demeanor seemed to me not very far removed from that of Michael Corleone at the end of "Godfather II."

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  16. Eve, I loved your Hitchcock connections with MATCH POINT. I was hesitant to see it when it was released, primarily because I had lost confidence in Woody Allen as a filmmaker. But I enjoyed MATCH POINT, not only for the carefully-crafted suspense, but also for the sly humor. Speaking of Margaret Tyzack, I just watched her in the fabulous original TV miniseries of THE FORSYTE SAGA.

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    1. Rick, Both you and R.D. mention Margaret Tyzack...and, since her name wasn't familiar to me and I haven't seen the original "Forsyte Saga," which you refer to, I went to IMDB to take a look at her filmography. I quickly realized that I've seen many of her films ("2001"?!?) as well as some of her TV work (Antonia in "I, Claudius"!). I also learned that she passed on just about a year ago.

      By the time I saw "Match Point," I was aware of its 'good buzz' but was not prepared for Woody Allen, Master of Suspense. I didn't devote any space to the humor of "Match Point," but it is there, very dry, wry and - as you note - sly. Hitchcock, of course, was noted for injecting humor into even his darkest works.

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  17. I think Allen has become more visual in his later years, which allows him to be compared to Hitchcock. Being dialogue-driven for so many years really put him in the art-house niche, so it has been nice to see more visual development to go along with his great dialogue. Nice pick.

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    1. Kim, Agreed. As I re-watched "Match Point" I was reminded of how much more visual Allen has become over the years. I should give credit to cinematographer/DP Remi Adefarasin ("Sliding Doors," "Elizabeth" and "Elizabeth: The Golden Age," plus much TV, including "Band of Brothers"). One of the things I love about "Match Point" is that Allen's dialogue is more restrained than usual (as it had to be) - boiled down to the essence, if you will.

      Allen has remarked that Hitchcock could take a murder scene and turn it into a minute-and-a-half of brilliant cinema (through montage), adding, "I'm more of a writer." He is. But he is also more than a writer.

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  18. Sadly I have not seen this film but now need to after reading your excellent analysis.

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    1. CFB, Thanks! There aren't many things more rewarding than inspiring another person to see a great movie.

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  19. Im more a fan of his very early work, not so much of the later. Richard

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    1. Richard, Sounds like you're a fan of Woody's "earlier, funnier" films. I like them, too, but my favorites are mostly from the '80s forward (much as I love "Annie Hall" and "Manhattan" and the Herb Ross-directed "Play it Again, Sam").

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  20. I really loved this Woody Allen film (this and "Cassandra's Dream") so it was quite a thrill to see it as the subject of your post. I loved reading your analysis and the ways in which you call attention to the Hitchcokian motifs and parallels. A thoroughly wonderful, thoughtful read!

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    1. Ken, So happy you're a "Match Point" fan - it is superb, I think, so well constructed, cast, filmed. And I'm happy you enjoyed this piece. By the way, one of the high points of The Movie Projector's William Wyler blogathon for me was discovering your blog (for those interested - http://lecinemadreams.blogspot.com/).

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  21. A great piece, Eve. As a longtime Woody Allen fan, I saw this film on release and enjoyed it a lot, although, as a Brit, I will admit I had some reservations. The portrayal of British society seems very stereotyped and dated - making it seem like a period piece despite its apparently contemporary setting, which could, it now strikes me, be part of the Hitchcock influence. However, I thought all the actors were brilliant and the plot built up beautifully through its ironic series of twists - the comparison with Hitchcock hadn't struck me, but you make a persuasive case.

    I think there was a generally lukewarm reaction to the film in Britain and it was not very successful here, meaning Allen's following film, 'Scoop', despite being made in London, got no British release of any kind, in cinemas or even on DVD - we had to wait for a showing on TV a couple of years later! I really liked that one too when I finally got a chance to see it - another great performance by Scarlett Johansson, this time with the bonus of Woody being in front of the cameras and adding a lot of comedy, but again with a tense mystery plot. There is also a black comedy crime subplot in another British Allen film, 'You Will Meet a Tall Dark Stranger' and this strand, it now strikes me, again has a Hitchcockian flavour to it, as well as being vintage Woody! Anyway, I really enjoyed your piece, as you will have gathered - great stuff.

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    1. Judy, "Match Point" was originally written as an American story to be filmed in the Hamptons. But the money to finance it was raised in England, so the story was moved to London. When asked if he had any problems writing about the class aspect of British life, Woody said he did the best he could relying on his own common sense but that any mistakes he made were brought to his attention by one of the producers or the production manager, who were British. So it seems this facet wasn't overlooked but portrayed as intended - which could be, as you mention, "part of the Hitchcock influence."

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