WHATEVER WORKS (USA/France 2009) ***
Directed by Woody Allen

WHATEVER WORKS returns respected writer/director/comic Woody Allen to his New York roots.  He tackles once again the romantic comedy genre though a Woody Allen romantic comedy, because this man has made so many, could possibly be classified as a sub-genre on its own.

WHATEVER WORKS centres on the romance between the older what can be defined as an ‘Allen-genius’ ex-suicide neurotic, Boris Yellnikov (Larry David) and the much younger not-so-bright Melodie St. Ann Celestine (Evan Rachel Wood).  They wed but fate knocks like Beethoven’s 5th Symphony (Allen’s joke here) on the couple’s door.  Melodie falls for a young hunk, Randy (Henry Cavill) but the results may not be entirely undesireable – as the title of the film WHATEVER WORKS implies.  Melodie’s parents (Patricia Clarkson and Ed Begley Jr,) show up adding more trouble in paradise.

As in all of his films, Allen chooses his cinematographer carefully as does his stars as with his casting director, Juliet Taylor.  The cinematographer this time is Harry Salvides who did brilliant work for MILK, AMERICAN GANGSTER as well as the Gus Van Sant’s films ELEPHANT and GERRY.  His work could have landed the gay element (that feels out of place) into Allen’s script.

Allen’s latest muse is Evan Rachel Wood.  But the best actress in this film is Patricia Clarkson who will almost surely be nominated for a Best Supporting Oscar.  A Best Supporting Oscar nomination is almost a sure thing in an Allen movie.

At the film’s worst, parts get too talky - the most noticeable being at the film’s start with Boris, the protagonist speaking to the camera for such a long time that the audience feels uncomfortable.  Allen has not used this antic since his earlier works like ANNIE HALL and STARDUST MEMORIES.

Larry David plays a more blatant angrier role that is normally played by Allen in his early works.  One can speculate his using of King as it allows him (Allen) more freedom to be nasty without the audience associating Allen, if he played the roles, from his past parts.  David works his charm well and it is not difficult to believe the young naïf falling for him.  But Boris eventually comes off as annoying, though one may argue this trait being Allen’s intention for his character.

Allen moves his film fast with certain incidents flying by.  The marriage of Boris to Melodie is just mentioned in voiceover and before the next scene change, the film moves past one year of marriage.  This fast movement with voice over is reminiscent of many of the romantic Truffaut films of the 60’s and 70’s where a lot is read and moves in reel time.

Allen, to me, one of the best stand-up comedians of present times, is still sharp in his humour.  But he could do well to leave out those misses (like the unfunny one with Boris commenting on him hating the French for their ménage-a-trois).

WHATEVER WORKS is typical Woody Allen with his fans not disappointed for sure.  The film has everything expected from an Allen movie – his Jewish neurosis, his brand of romance (old guy and young fling), take on life, Manhattan social circle and fortunately great one-liners and occasional brilliance.  The one-liners alone are worth the price of the admission ticket.