A fictitious love story loosely inspired by the lives of Danish artists Lili Elbe and Gerda Wegener. Lili and Gerda's marriage and work evolve as they navigate Lili's groundbreaking journey as a transgender pioneer.
In 1930's Hollywood, the powerful agent, Phil Stern, is attending a party and receives a phone call from his sister living in New York. She asks for a job to her son and Phil's nephew, Bobby, who decided to move to Hollywood. Three weeks later Phil schedules a meeting with Bobby and decides to help him. He asks his secretary Veronica "Vonnie" to hang around with Bobby, showing him the touristic places. Bobby immediately falls in love with Vonnie, but she tells that she has a boyfriend, a journalist that travels most of the time. However, Vonnie's boyfriend is indeed a married man that is also in love with her and soon she has to make a choice between her two loves. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
In the opening scene at a swimming pool, the narrator's voice (Woody Allen's) says that it took place 'in the late thirties'. Yet, towards the beginning of the movie, soon after arriving in Hollywood, Bobby comes out of a movie theater advertising on billboards and posters a Joan Crawford film 'The Woman in Red' which was released in the mid-thirties, 1935 to be exact. See more »
Love is not rational. You fall in love, you lose control.
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The plot of the latest Allen's movie is your basic love triangle, set in the 30s and with a small twist. Eisenberg and Stewart play the two young lovers, Bobby and Vonnie, who meet in Hollywood, where Bobby moved from New York.
Bobby's uncle, Phil, is a big shot in the movie industry and Bobby is looking for a job. Vonnie is Phil's secretary and part of her job is to make Bobby feel at home. After a few months, Bobby realizes is not happy on the West Coast, but he is in love with Vonnie.
Bobby proposes to Vonnie and asks her to move to New York with him. But she has a "secret" lover, who also proposes. Bobby moves back to New York alone, to work in his gangster's brother night club. The denouement of their love story is melancholic.
I am not a fan of Stewart, but her part required some aloofness and mystery and she did a good job - whether because she is a good actress or because her range is limited to playing cold and detached I cannot say. Also, the movie offers some classic Allen's punchlines, about life, its meaning or lack thereof. The voice-over did not disturbed me a bit and, as usual, the soundtrack is fabulous. Since I start to feel Allen's nostalgia for the past, this movie fulfilled all my expectations.
If you like Allen's movies, you will probably like this one, too. It is nostalgic but not sentimental and elegant in an old-fashioned way.
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