• A film that will be rediscovered by cinephiles in 20 years
  • Beautiful opening shot of 1940’s Coney Island with extras in a wide shot
opening wide shot of Coney
  • Vittorio Storaro as cinematographer here and it’s breathtaking, the show after that wide shot opening of Juno Temple arriving in Coney Island entering under the wheel—a stunner—Storaro’s use of color throughout is spectacular
2 minutes later, a jaw-dropped of a shot as Juno Temple walks under the wheel

  • Kate’s performance is solid as well- Temple does well but there’re the only two really- Kate’s is a bit of Blanche DuBois from Streetcar Named Desireor Norma Desmond in Sunset Boulevard but she doesn’t start that way fully—it comes off the rails—lots in common with Cate Blanchett’s tremendous work in Blue Jasmine as well
  • More outstanding work from costume designer Suzy Benzinger (Café Society she was great as well) – you combine this with Storaro’s work and this is a very expressionistic mise-en-scene paired with some harsh drama (for sure bordering melodrama)—production designer from Radio Days and Bullets Over Broadway
Allen’s use of expressionistic lighting to signal mood and paint the mise-en-scene
  • Jim Belushi is no Dany Aiello (Purple Rose of Cairo) sadly- he’s not bad but the role calls for more (it goes without saying he’s no Marlon Brando in Streetcar)- blue collar bowling, fishing, wife beater
  • It does play like a play set—and that’s not a compliment—the actors repeat lines accidently and there should have been another take—“he’s a flashy cheap flashy hoodlum”
  • Adore the gorgeous artificial lighting pouring into the bedroom from the wheel- blues and reds
again here- incredible visuals
  • Songs repeated too often- a flaw of irrational man as well. Woody seems lazy here
  • Beautiful set design with the red tables at the ice cream place
wall-art mise-en-scene work
  • Theater playing Winchester 73’ so we’re putting this at 1950
  • Fantastic use of lighting in the car with Timberlake and Temple
  • The depth of field at Winslet’s apartment—we have the bedroom shaded red, the living room blue, and the kitchen green—Storaro’s use of color from Coppola’s One from the HeartDick Tracy and yes even Apocalypse Now One From the Heart is superior to this but it feels like the best comparison
  • Very nice tracking shot when Winslet takes the drink and fully breaks down- captures the frazzled mentality
  • The moral decision here mirrors Crimes and MisdemeanorsMatch Point
  • Near end final back and forth from outside their apartment  through the windows with brackets- really well done- Renoir
  • Recommend