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Jerad 2022-11-16 10:14:30

Someone once said, "Woody Allen only belongs to Brooklyn." This American film master, in terms of narrative and expression, has the blood of European films. Nerves, nagging, poignant sarcasm of white-collar workers, and turning sharp class rivalries into ironic jokes have always been Woody Allen's forte. Frankly speaking, I don't really like his works too much, especially the movies in which he plays the role. The stereotyped image, the over-deliberately created but incompatible style of the comedian, often creates a kind of humor in the movie. The unique sense of alienation, or it should be said that other than him, others cannot imitate or form a tacit understanding with his unique style, which leads to the formation of difficult cross-domain distances between characters and between the film and the audience.

Out of Brooklyn, Woody Allen has extended his tentacles to the land of England. Different from the fast food culture, high-speed life rhythm and the eccentricity of getting rich overnight in the United States, London has a traditional rigidity and elegant modernity. All kinds of opposition, hostility, and the desire to integrate into the society are the same. The class culture background does not seem to constrain Woody Allen's talent. "Match Point" can be said to be his rare masterpiece in recent years, and it can even be said that the style of his previous works has been removed to the greatest extent. The incoherent, neurotic little old man with glasses, the style of the film can finally be unified, it seems so quiet and slow, the inner struggle, the devouring of the soul by desire, the cold reality, plus the anti-climax of the ending, all jumped out of our usual thinking.

It's a pity that his bravery could not be continued in "Scoop". In the face of ambition, Woody Allen chose to return to the comedy technique he was good at, so the whole work seemed too arbitrary and messy, and his own performance was still lacking The new bright spot is that luck affects people's fate. The contingency and inevitability of fate are placed in a pre-publicized ending, which greatly weakens the sense of suspense and rigor. The most comical plot turns out to be the one who is not used to the driving rules of London roads. The magician's accidental loss on the way to save people seems to imply that Woody Allen has not really integrated into the space of London. He is just trying to move Manhattan to another coordinate on the map, but the result is not satisfactory, it can even be said that In "Scoop", Woody Allen seemed so overwhelmed that he had to rely on an unexpected experience to let the whole story come to an abrupt end. If we boldly weaken the role of the magician, make the focus of the whole film tilt to Scarlett Johansson, and use more ink to portray this girl who is in love with her prey and is constantly struggling in her heart, the whole work will be more plump and three-dimensional, and we will also Don't waste your energy trying to understand Woody Allen's chatter, this is a standalone movie after all, not a midnight "Talk Show." If so, Woody Allen wouldn't be Woody Allen, and that's where his charms and flaws lie.

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Extended Reading

Scoop quotes

  • Sid Waterman: This guy must be some lover if you're ready to drop the whole investigation! I must find out what breakfast cereal he eats...

  • Sid Waterman: Did you accomplish anything besides a possible pregnancy?

    Sondra Pransky: I'll tell you what I did see: his mother, Lady Eleanor, has short-cut, brunette hair.

    Sid Waterman: [stuttering] Yeah, but not a hooker?

    Sondra Pransky: [shocked pause] No, Sidney, she's not a hooker! I hardly think so. She's practically royalty. Christ, you amaze me sometimes. Your brain!