Centred around a weekend party at the home of inventor Andrew Hobbs and his wife Adrian, attended by randy doctor Maxwell Jordan, his nurse Dulcy, renowned philosopher Dr. Leopold Sturgis and his fiancée, this is a light comedy concerning their various emotional, intellectual and sexual entanglements, loosely based on Ingmar Bergman’s Smiles of a Summer Night. –IMDb
Actor, director, screenwriter, and playwright Woody Allen redefined film comedy during the 1970s, bringing a new measure of sophistication and personal complexity to the form. Born Allen Stewart Konigsberg in Brooklyn, NY, on December 1, 1935, he adopted his stage name at the age of 17, and in 1953 enrolled in NYU’s film program, and soon dropping out of school to begin writing for comedian David Alber. Two years later, Allen graduated to writing for television; during his five-year in television, his efforts won him an Emmy nomination. He eventually decided to try his hand as a stand-up performer. After slowly gaining a reputation on the New York-club circuit, he became a frequent talk show guest and in 1964 issued his self-titled debut comedy LP. With 1966’s What’s Up, Tiger Lily?, a puckish re-tooling of a Japanese spy thriller complete with his own story line and dubbed English dialogue, he made his directorial debut. In 1969 Allen directed two short films for a CBS television special… read more
Me sorprendió gratamente esta película de Woody Allen de la que tan poco se habla. Hay un equilibrio muy logrado entre la comedia, las inquietudes filosóficas y la magia; además aquí Allen y Gordon Willis siguieron experimentando con los planos secuencias y el espacio vacío con los personajes hablando en off, tal como habían hecho en Annie Hall y en Manhattan.
Apparently the script was written in two weeks and you can evidently see its shortcomings throughout the film. The plot and characters are rather thinly worked upon, but in spite of this, the film retains an ethereal quality through its cinematography and art design. The countryside is truly alluring and it, along with the charming cast, provides the film with the necessary backbone that makes it watchable.
Allen’s reworking of Bergman’s film features some of his own trademark musings on life, love and spirituality thrown into the mix (including nods to the eponymous Shakespeare play), with the basic sex comedy essence of the material preserved, not being entirely alien to Allen’s body of work itself. With plenty of familiar hijinks to keep things rolling, as well as being gorgeously shot on location, it takes a while to find its footing but once it’s there, it makes for silly but entirely harmless natter.