X
- 2005
- PG-13
- Searchlight Pictures
- 1 h 39 m
- 2005
- PG-13
- Searchlight Pictures
- 1 h 39 m
Summary This film combines romantic comedy and drama in a way that Woody Allen, unique among filmmakers, likes to contrast. (Fox Searchlight)
Directed By: Woody Allen
Written By: Woody Allen
- 2005
- PG-13
- Searchlight Pictures
- 1 h 39 m
- 2005
- PG-13
- Searchlight Pictures
- 1 h 39 m
Melinda and Melinda
54
6.1
Where to Watch
Summary This film combines romantic comedy and drama in a way that Woody Allen, unique among filmmakers, likes to contrast. (Fox Searchlight)
Directed By: Woody Allen
Written By: Woody Allen
Where to Watch
Top Cast
Metascore
Mixed or Average
Based on 40 Critic Reviews
54
53% Positive
21 Reviews
21 Reviews
35% Mixed
14 Reviews
14 Reviews
13% Negative
5 Reviews
5 Reviews
Metascore
Mixed or Average
Based on 40 Critic Reviews
54
53% Positive
21 Reviews
21 Reviews
35% Mixed
14 Reviews
14 Reviews
13% Negative
5 Reviews
5 Reviews
Allen gives us at least half a classic comedy - more than we usually get at the movies these days - while having some elegant fun with an idea that has intrigued poets and smart alecks through the ages: the interchangeability of comedy and tragedy.
More accomplished, adventurous and original. Instead of Allen's usual investigation into the nature of existence, this new film looks at the way stories are created, particularly comedies.
User Score
Generally Favorable
Based on 26 User Ratings
6.1
35% Positive
9 Ratings
9 Ratings
58% Mixed
15 Ratings
15 Ratings
8% Negative
2 Ratings
2 Ratings
User Score
Generally Favorable
Based on 26 User Ratings
6.1
35% Positive
9 Ratings
9 Ratings
58% Mixed
15 Ratings
15 Ratings
8% Negative
2 Ratings
2 Ratings
Released in late 2004 in Europe, but early 2005 in America, Melinda and Melinda stands as a testament to the change that was afoot in Woody Allen's career. After this film, he took off to Europe and began filming in various vacation destinations across the continent. One of the last few New York City shot Allen flicks (Whatever Works and Cafe Society would later represent brief returns to the city he loves), Melinda and Melinda is a mixed bag. Touching on typical Allen themes, the film poses the question: is life more tragedy or comedy? Set during a dinner conversation between two playwrights, one a comic writer and the other a tragedy writer, both pose theories based on a story offered by a mutual friend. The setup: a couple is hosting a dinner party and a woman randomly shows up at their door. The two playwrights envision two entirely scenarios in which a woman named Melinda (Radha Mitchell) knocks on the door of a dinner party unexpectedly. One goes tragically and the other turns comedic. Which is the actuality of life and better captures the likelihood of the mystery behind this girl?
In the tragic tale, Melinda is a woman damaged. After cheating on her husband, killing her lover, and losing custody of her children, she shows up at the front door of a couple, Lee (Jonny Lee Miller) and Laurel (Chloe Sevigny), as they entertain. Now, this couple are people she knew in college and had planned to stay with months ago, but a suicide attempt on Melinda's part got in the way. While with them, she meets and falls for a musical man named Ellis (Chiwetel Ejiofor). Unfortunately, things do not work, Lee and Laurel's marriage falls apart, a lawyer she consults cannot help her with her custody case, and Melinda winds up wanting to kill herself. By the end, Laurel resolves that Melinda will always need help. In this section, the tragedy is quite clear. Her life is horrible, though some is self-inflicted. Much of this section falls flat comedically, however. As a Woody Allen film, one would expect some more comedic lines, but there is nothing here. I looked for comedy here simply because the tragedy seems so ineffective. Melinda is unlikable and probably brought all of this on herself by killing a man in cold blood and cheating out of boredom. She is unsympathetic and not a good main character. The first half of the film heavily focuses on this story unfortunately and Melinda here is simply not easy to like. While the acting here is great, especially by Mitchell in a scene where she spills her heart and past to Ejiofor, little works until she meets Ejiofor. When the two are together, the film really does click and the tragic playwright finds some magic in the darkness.
In the comedy section, Melinda arrives at the home of Hobie (Will Ferrell) and Susan (Amanda Peet). As Allen is a comedy writer, this section really zips at times, especially in the second half. A damaged woman who arrives after having downed 24 sleeping pills, the section quickly becomes charming as she as Hobie begin to fall for one another. Fearing hurting his wife, Hobie consults best friend Walt (Steve Carell) as to what he should do. Fortunately, the feeling is mutual between he and his wife and they have an awkwardly easy split where the duo just agree it is over. Now free to chase Melinda, the duo fall in love after spending some time with other people - Melinda with a regular guy who is quite nice and Hobie with a Republican Playboy mode. Ending on a happier note, the section is largely quite witty with Ferrell playing the Woody Allen character. It is funny throughout with Ferrell delivering good Elf-like performance in regards to the innocence and authenticity of his character. He plays the neurotic man quite well and delivers the witty and smart lines with ease. When this section takes focus, Melinda and Melinda is at its most enjoyable and is often incredibly funny, mainly because it plays to Allen's strengths as a writer/director.
A film about whether life is more tragic or comedic, the answer is simple: it is both. The film very clearly shows that tragedy does not work quite as well without some comedic lightness to liven it up and comedy lacks stakes or the final bit of punch without some tragedy. Comedic possibilities are introduced in the tragic storyline and vice versa, but never explored because of the defined focus of the storylines. The end result is an interesting concept, but with two sections that do not work quite as well as intended and prove that tragedy and comedy need each other to work. In isolation, the duo tend to just tread water.
Report
Melinda and Melinda is not a particularly bad film, but just a limp one. In many ways, that's worse. The switching between a comic and tragic interpretation of the same movie keeps afloat with thought, but the film itself is rather empty, and neither story is particularly strong on its own.
Report
tTere are two things going for Melinda and Melinda: Woody's not in it and Radha Mitchell is.
But Allen can still write a good joke and there are some here. Not enough to say he has returned to form, but enough to remind you of what that form was.
Beautifully shot by the great Vilmos Zsigmond, the movie is watchable, sporadically amusing and ultimately frustrating, because Allen is capable of so much more, but doesn't appear interested -- or willing -- to push himself any longer.
Even these actors -- who, in other pictures, are often wonderful in distinctive ways -- don't seem like themselves: It's as if they've been pulverized and pressed into convenient actor shapes.
These days, Allen's pictures are more like snuff films, in which the viewer must suffer both gifted actors committing screen hara-kiri and a once-brilliant filmmaker soldiering on with his long, bullheaded decline.
I revere Woody Allen. But this is one Woody Allen flm I cannot support. The juxtaposition of the storyline simultaneously along tragic and comedic lines just does not work. Most of all, it's confusing. Notwithstanding a terrible script, I have to say Will Farrell does an admirable job. The other cast members fall flat.
Report
Deux points de vue tout au long du film, deux façons d'aborder une histoire : l'une "tragique", l'autre "comique"... (entre guillemets, car ce n'est ni tragique ni comique, ni tragicomique, c'est juste con). Première erreur, les acteurs ne sont pas les mêmes entre les deux alternatives, exceptée Radha Mitchell la blonde toujours aussi ravissante, devenue une adorable milf). Seconde erreur, c'est réalisé par Woody Allen. Troisième erreur (fatale) : c'est écrit par Woody Allen, ce qui signifie des dialogues creux, des personnages vides et des blablas interminables et abrutissants : on dirait que le film dure 5h. Un gros étron donc, démoulé par l'andouille Woody Allen : on est même pas surpris.
Report
Production Company
Fox Searchlight Pictures,
Gravier Productions,
LF Hungary Film Rights Exploitation,
Perdido Productions
Release Date Mar 18, 2005
Duration 1 h 39 m
Rating PG-13
Tagline One love story. Two versions. Seriously funny.
