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The critics seem to bask in beating up Woody Allen. “Cassandra’s Dream” follows in the trend of the last 15 or so years of the public and critics turning their aid on Allen and his films. I’ve found that they sometimes engage cheap shots. It’s one thing not to like an Allen film, but often I read personal attacks against Allen the man. Remarks are made concerning his age, personal life and his relationship with Soon-Yi. Rarely do critics stick to comments concerning editing, cinematography or acting without inserting a jab at Allen.
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Every review I’ve near across for this film has been negative. “Variety” did not like it, spending a majority of the review complaining about the characters accents and the language outmoded in the film, citing it is not authentic if you are British. Roger Ebert did not like it nor did the Chicago Tribune while the Modern York Times seemed luke-warm to it.
Once again however I salvage myself on the outside of public view. “Cassandra’s Dream” is one of 2007′s best films. Many may want to compare it to Allen’s “Match Point”, Allen’s other film region in London revolving around cancel and social class. Don’t! The films are very different. “Match Point” I felt venerable metaphor in a more salubrious arrangement. I view Allen did a better job expressing his views on society in that film, but, “Cassandra’s Dream” should not go without its due praise.
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The film follows two lower class brothers, Ian (Ewan McGregor) and Terry (Colin Farrell) trying to glean by and climb the social ladder to success. Terry has a bit of a drinking and gambling jam. For now the gambling is paying off. Winning minute amounts at cards and betting on the dog track. Ian on the other hand works at the family restuarant but dreams of investing in hotels. In many ways he wants to be like his rich uncle Howard (Tom Wilkinson), who has travelled all over the world.
One day Terry’s luck runs out, he losses tall at a poker game and is 90 thousand pounds in debt. Where will he win the money? Ian has some money saved for his hotel investments but not 90 thousand pounds. Their only hope is their rich uncle.
Before their uncle will give them the money he has a favor to ask. There is a whistle-blower at Howard’s company who is going to testify against him for some questionable business moves he made. Howard needs the man to be, shall we say, eliminated. And he can only turn to his family for such a inquire.
At the heart of Allen’s film is what lies in men’s souls. Are edifying people proper of poor things. The brothers may have their faults, but they are not criminals. The tagline line for the film is every dream has a mark. It’s key to the film. How far would you go to arrive your dreams? How severely will we allow our factual judgement to punish us for “injurious” acts?
We saw this inquire of reveal itself in Allen’s “Match Point” and “Crimes and Misdemeanors” (which also had brothers planning a kill. In fact the novel title for the film was “Brothers”) .
McGregor is helpful in the film as his character I felt was better defined and goes through more of a transformation. Farrell is the ancient link of the bunch. His character seems underdeveloped. In honesty both characters could have outmoded more work but McGregor adds something to the character through his presence as an actor. He makes the fragment more exciting then it was written. Farrell keeps his performance at the page level. Meaning he doesn’t flesh the character out to form it his believe but instead simply sticks to the page.
The major acting accept here is Hayley Atwell. She is a admire playing Angela Stark, a like interest for Ian. She is an unknown actress who has the potential to be a star. Unfortunately Allen and his legendary Hungarian cinematographer Vilmos Zsigmond, whose credits include “The Long Goodbye”, “The Deer Hunter”, “Blow Out” and Allen’s “Melinda and Melinda” don’t linger on Atwell. Allen should have had the camera follow her more aggressively, making the camera and the viewer descend in adore with her. But that may have changed the tone of the film.
Zsigmond though for his allotment does acquire some delicate country side shots as Allen shows as a different side of London than what we saw in “Scoop” and “Match Point”. We peer a more gritty side of London.
The editing of the film I also found effective. It slowly builds tension. As I first began watching the film I notion to myself this is a “beneficial” Allen film. Then I slowly became more and mroe alive to. How would the cancel happen? Would they do it? Will they acquire away with it? How will such a film slay? The film really grabbed my attention. My eyes became glued to the camouflage.
Determined there are downsides to the film, some of the performances, I notion more could have been done with Atwell and I found the novel get by Philip Glass, at times unsuccessful in creating the kindly mood. I didn’t consider it added worthy to the film. I notion the best scenes were the ones without any music. But “Cassandra’s Dream” is worth seeing. Yes the negative remarks will continue, but for me at least, I’m gay I saw this film.
Bottom-line: One of 2007′s best films. Despite some flaws Allen manages to sustain his audience engaged. The film slowly creeps up on you.
Since the times of “Noteworthy Aphrodite” the genial Woody Allen seems to have found a never ending vein of possibilities, blending the primary roots of the Greek tragedy with the classic patterns of the Noir Film.
As a matter of fact, if “Match Point” was one of his most supreme achievements until this date, “Cassandra ` s dream” is the perfect vehicle to lop in relief the existential danger and the indispensable sob for two working class brothers who aspire to run from his quotidian environment.
Every one of them wants to be recognized and admired, playing the game of a wealthy uncle, who is for their mother, the symbol of success, and the actual benefit along his years of childhood and youth.
So, we have the greedy mother, the ruthless uncle who is a true wolf of the finances and regards the existence like a poker game. “Family is family and blood and blood” is his honour` s code, the fatal statement which will commence the Pandora’s box, leading the viewer to be behold of what the unsatisfying thirst of ambition and greed .
Once more, we are in front of one the most intelligently written and better conceived scripts of this tireless filmmaker, where the brain sees to impose itself into a world eminently emotional where nobody is totally innocent.
Both brothers appear like the sides of a coin, one represents the wounded conscious, while the other is the symbol of the pragmatism. A similar dramatic draw who reminded me to Sean Penn `s “Indian runner”.
Watch it, because it’s absolutely gratifying from begin to effect.
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