• One of Allen’s most serious films- like Match Point, Interiors. Apparently his least successful (or close) of all time at the box office. Based on Chekov’s “Uncle Vanya”
  • Allen reshot the film in its entirety—he had Walken and then Sam Shepard in some roles—ditto with some of the other parts before recasting and starting over. Mia Farrow’s house/life is a bit of the basis as is the life of Lana Turner
  • It’s pomposity is an instant turn off to some- but that’s description- not evaluation- I do get a chuckle out of Allen imitating Bergman, basing a film off of Chekov, and having Denholm Elliott and Diane Wiest speaking French to start
  • The film is largely archiveable because of the gorgeous interiors—tans—looks like an immaculately designed Pottery Barn interior- and there are more than a few shots like this that nod to Ozu’s mise-en-scene mastery
  • Farrow is good here, as is Denholm Elliott
  • It’s definitely one of the more mousy of Mia’s characters which again is a description- she’s good at it—there are some zingers sent her way like “you dress like a polish refuge” and “don’t let your desperation show”
  • The film has a distinct look- a triumph from Carlo Di Palma as DP (Blow Up and Allen during this period) and Allen– fake golden dusk equally matched with the yellow lighting at night and tan set décor
  • Fate, unrequited love as it’s themes- everyone is in love with someone else—Elliott with Mia, Mia with Waterston, Waterston with Wiest
  • Shadows on the porch, the storm which knocks out the power to showcase the natural lighting
  • Jazz score per Woody trademark
  • The film has flaws- some of the dialogue is overwrought and/or flat—lines like “my husband is radiologist- if he took an x-ray of me he’d be hurt at what he saw”
  • The lighting behind Farrow and Wiest 70 minutes in with white yellow drapes—cares as much about décor and background as the action in front- a visual treat
  • The final tracking shot and showcase of empty rooms- marvelous
  • A recommend- but not in top 10 of 1987