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Getting out of Manhattan has done Woody a whole world of good. Matchpoint, set across the pond in a very unmerry old England, was a surprisingly focused, dismal work reaffirming that Allen still had his chops. His latest film, set in the eternally spry, golden hue of Barcelona, is even more of a cobweb-clearing sweep to the mausoleum Woody was rapidly sealing himself in. It’s amazing what a simple change of scenery can do.

This is precisely what Vicky Cristina Barcelona is all about: two credulous American girls, Vicky (Rebecca Hall) and Cristina (Scarlet Johannson), taking a holiday abroad in hopes of finding something, anything that can inspire them. What finds them is a sultry Catalan painter, Juan Antonio (Javier Bardem), and his tempestuous ex-wife, Maria Elena (Penélope Cruz), who fascinate and repulse our heroines along with us as an audience. They embody everything our American culture is not and will never be, with their gutturally instinctive, art-loving bohemian way of life, free of the moral hang-ups that always paralyze Allen’s characters. It’s impossible not to fall in love with Bardem and Cruz like Vicky and Cristina do, especially when situated in a Woody Allen movie. They’re everything his characters ever wanted to be, yet couldn’t due to a lack of courage. Simply put, the screen presence of Spain’s two most current (and yes, also talented) actors is what makes Vicky Cristina Barcelona so damn good.

But don’t get me wrong. Everything that makes a Woody Allen movie a Woody Allen movie is still here, namely pretentious socialites nowhere near the worth of their own useless knowledge who do the exact opposite of their self-assured and frequently proclaimed morale (the same thing ultimately goes for our Spaniards, too). And of course, Allen’s own signature neuroses still serve as the backbone of the story. Where his recent films depart (the murder mystery/comedy Scoop and the somber Cassandra’s Dream included) is with the inclusion of the Foreigner in the Allen canon, but from a decidedly American viewpoint that proves both insightful and stereotypical in that double-edged sword sort of way so characteristic of Allen’s films. With Vicky Cristina Barcelona, one gets the sense Woody finally let out a sigh and took a European vacation, yet couldn’t keep from making a movie in between his seaside piña coladas. This filmgoer hopes he has every intention of extending his holiday.

This review originally appeared in DenverProjectionBooth.blogspot.com in August 2008.

Temaram dengan tone warna yang hangat dan keemasan, manis seperti madu yang membuat saya ingin ‘mencicipi’ layarnya, Vicky Cristina Barcelona (2008) adalah sebuah drama komedi tentang dua orang turis Amerika yang sedang menghabiskan musim panas di kota Barcelona. Vicky (Rebecca Hall) ingin memperdalam kajian tesisnya tentang kebudayaan dan identitas masyarakat Catalan, salah satu etnik yang paling berpengaruh di Spanyol. Sedangkan Cristina (Scarlett Johansson) yang senang berpetualang, ingin mencari sesuatu yang baru, termasuk jati dirinya. Mereka mengunjungi museum setempat, arsitektur gereja Gaudi yang terkenal, menikmati masakan di restoran-restoran khas Catalan, dan malamnya duduk terbius oleh alunan gitar Asturias. Film ini memenuhi semua kebutuhan estetika yang ada: indah, hangat dan menggairahkan.

Tapi cerita sebenarnya baru dimulai ketika mereka bertemu dengan salah satu harta terbesar Spanyol: Javier Bardem. Ia memerankan Juan Antonio, seorang pelukis sekaligus sosialita lokal yang sedang jadi bahan pembicaraan masyarakat setempat karena baru saja bercerai dengan istrinya terkait masalah kekerasan dalam rumah tangga. Sebentar saja, Cristina sudah jatuh hati pada Juan Antonio hanya karena ia mengomentari mata dan bibirnya yang indah. Vicky awalnya menolak karena dua hal: Pertama, ia telah bertunangan dan akan segera menikah. Kedua, ia adalah seorang yang terpelajar, sedang mengejar magister, dan tidak mau dibodohi oleh seorang pria mesum yang tiba-tiba datang dan bilang, “ I’ll show you around the city. We’ll eat well, we’ll drink good wine, we’ll make love”.

Syahdan, mereka bertiga melanjutkan perjalanan ke Oviedo menggunakan pesawat pribadi Juan Antonio. Walaupun menggerutu, Vicky akhirnya ikut berangkat dengan alasan “to protect Cristina from making a fatal mistake.” Di luar skenario, kencan Juan Antonio dan Cristina buyar karena Cristina keracunan makanan sehingga terpaksa dirawat. Justru Vicky yang akhirnya ‘terjebak’ dalam hubungan cinta dengan pelukis tersebut. Pola cinta segitiga tersebut terus berlanjut, sampai akhirnya Maria Elena, mantan istri Juan muncul di layar dan mengobrak-abrik plot membosankan yang telah dibangun dengan rapi dari awal.

Selebrasi Cruz & Bardem
Menarik untuk membahas keempat tokoh tersebut. Rebecca Hall memerankan Vicky, sebagai satu-satunya round-character dalam film ini. Tipenya lugas, berbicara dengan pilihan kata yang ‘terpelajar’ pada awal film berubah menjadi plin-plan dan penuh pretensi di tengah cerita, terutama ketika ia harus berbohong kepada Doug tunangannya atau ketika ia merepresi rasa cemburunya kepada Cristina karena memiliki Juan Antonio. Vicky berevolusi ketika ia akhirnya kembali memilih kehidupan ‘mapan’ dan realistis setelah mengalami ketidakstabilan identitas di Barcelona dengan segala pesonanya. Namun hal itu tetap dibawakan dalam aksen Amerika yang datar dan arogan oleh aktris yang juga bermain dalam film Frost/Nixon ini.

Sedangkan Scarlett Johansson, ah, di mana pun ia tampil tetap saja lovable. Perannya dalam Vicky Cristina Barcelona sama sekali tidak bisa dibilang jelek karena karakteristik Cristina sepertinya memang dirancang seperti itu. Sulit untuk tidak membandingkannya sewaktu bermain dalam film Match Point (arahan Woody Allen) dengan karakter yang nyaris sama: muda, penuh hasrat namun tanpa tujuan. Ketika ia tinggal bersama Juan Antonio dan Maria Elena dalam satu rumah, ménage à trois, Cristina-lah yang paling sedikit membuat inisiatif dan manuver interaksi. Saya juga jadi mahfum kalau kecantikan Cristina langsung pudar begitu ia ‘diinterogasi’ oleh Maria Elena. Misalnya, ia hanya bisa mengatakan “ni hao ma” dalam bahasa Mandarin, padahal ia mengaku telah mempelajari bahasa itu. Mungkin ia hanya kurang improvisasi untuk mengimbangi para pemeran lain, karena sebagai satu-satunya yang berambut pirang, Cristina hanya akan memperkuat stereotip kejam bahwa “blonde is dumb.”

Tentu saja, sepertiga terakhir dari film ini akhirnya benar-benar dikuasai oleh pasangan Bardem dan Penelope Cruz*. Akting keduanya begitu memukau, ‘kimia-nya’ luar biasa. Apalagi ketika mereka bertengkar dalam bahasa Spanyol yang cepat dan seksi itu; silabel ‘oo’ pada setiap kalimat yang keluar dari mulut mereka membuat Vicky atau Cristina terpaksa melongo. Saya tidak bisa mengelak lagi bahwa tokoh Maria Elena yang diperankan Cruz ‘menelan’ Vicky dan Cristina hidup-hidup (dan tentu saja Cruz dapat Oscar untuk itu). Dengan durasi singkat yang diberikan padanya dalam film ini untuk peran seorang perempuan liar dan neurotik, ia sanggup menghadirkan karakterisasi yang kuat dan memorable.

Sedangkan Juan Antonio yang diperankan Bardem berada di tengah-tengah mereka, mencoba untuk merangkul semuanya dengan kalimat-kalimat khas buaya darat. Baginya perempuan itu sama saja dengan kanvas untuk ia lukis. Ia bisa bebas berekspresi dan bereksplorasi di situ; mencoret-coret kanvas untuk membuat lukisan abstrak yang rumit, serumit hubungannya dengan Vicky, Cristina dan Marie Elena. Walaupun berbeda 180 derajat dengan perannya sebagai bandit dalam film No Country for Old Men, Bardem sangat berhasil. Lagipula, menurut situs Internet Movie Database, ia adalah satu-satunya pilihan Woody Allen untuk mengisi peran Juan Antonio.

Menurut saya selebrasi pasangan selebritis tersebut tidak akan mencederai judul Vicky Cristina Barcelona, karena subjek dari cerita tersebut memang Vicky dan Cristina, serta Barcelona sebagai ‘karakter’ ketiga. Unik, karena Barcelona dalam hal ini mewakili dua tokoh, yaitu Juan Antonio dan Maria Elena yang melebur dalam cita rasa Catalan.

Narator dan Ironi
Kompleksitas karakterisasi yang unik tersebut ternyata tidak diimbangi dengan skrip yang berbobot. Film ini minim humor-humor verbal yang cerdas (witty) atau bahkan sarkastis khas film-film komedi Hollywood. Dialog-dialognya tidak terlalu banyak, terasa agak datar dan hambar, terutama pada paruh pertama. Saya selamat dari rasa bosan berkat durasinya yang cuma 96 menit. Mungkin film ini ingin menonjolkan keindahan latar kota Barcelona, tetapi ada ‘sesuatu’ yang hilang di sana.

Sebagai gantinya Woody Allen, yang belakangan hobi membuat film di Eropa ini, memberi posisi seorang narator omniscient (yang mengetahui segalanya) kepada aktor Christopher Evan Welch. Ia ‘ditugasi’ untuk membeberkan kejadian–kejadian yang dialami oleh para tokoh kepada penonton, sehingga narasi yang disampaikannya seolah-olah seperti skenario pada setiap adegan. Narasinya mengingatkan saya pada chorus yang selalu hadir dalam setiap skrip drama Yunani Kuno. Saya tidak ingin menuduh bahwa kehadiran narator digunakan untuk menutupi skrip yang buruk, tapi penonton drama komedi tidak harus dipandu dengan cara seperti itu.

Filsuf eksistensialis Jean-Paul Sartre pernah mengungkapkan hal tersebut sebagai “the foolish business of storytelling by ceaselessly bringing to the reader’s attention, explicitly or by allusion, the existence of an author”. Narator di Vicky Cristina Barcelona bisa dibaca sebagai ‘intervensi’ Woody Allen. Ia mengatakan apa yang akan terjadi dan dan menyimpulkan kejadian beberapa hari ke dalam satu paragraf. Jeda antara suara narator dan dialog para karakter membuat saya ‘hilang.’ Akibatnya film ini lebih banyak ‘menceritakan’ ketimbang ‘menampilkan’. Dan jujur saja, bagi saya suara sang narator yang semi-formal itu menjadi sangat mengganggu dan menyebalkan! Kalau memang kehadiran narator harus dipaksakan dalam film tersebut, mungkin akan lebih menarik jika ia merupakan salah satu dari para karakter, misalnya Judy, yang rumahnya digunakan oleh Vicky dan Cristina untuk menginap selama di Barcelona, sehingga ia cukup tahu mengenai kedua perempuan tersebut.

Tetapi ada beberapa hal yang tetap belum terjawab, yang menyisakan ironi pada Vicky Cristina Barcelona. Misalnya, mengapa Vicky ingin menikahi pria kaya tapi membosankan yang selalu ‘mengganggunya’ setiap saat lewat telepon itu. Atau, untuk apa juga ia mengambil tesis tentang budaya Catalan, padahal tidak bisa berbahasa Spanyol. Atau absurditas yang ditunjukkan Cristina ketika ia mencoba membuat film berdurasi 12 menit yang berjudul “Why love is so hard to define?” padahal selama summer di Barcelona ia tak kunjung menemukan jati dirinya sendiri, alih-alih menemukan arti cinta.

Atau tentang Juan Antonio, sang sosialita merangkap pelukis. Rumahnya yang penuh lukisan, bajunya yang selalu kotor oleh cat air, dan pergaulannya dengan teman-teman sesama artis, semuanya begitu kental dengan dunia artistik. Namun ia sama sekali tidak bicara tentang seni. Kita juga diberi tahu bahwa bapaknya adalah seorang pujangga, tapi tidak secuil pun puisi keluar dari mulutnya. Seni hanya ditempel sebagai pemanis cerita; motif dan simbol-simbol artistik digunakan hanya untuk menggambarkan Barcelona secara sempit. Ia seolah-olah mengatakan pada kita bahwa jika tinggal di Barcelona harus ada lukisan abstrak, puisi dan alunan gitar!

Diringi dengan backsound ‘Barcelona’-nya Giulia y los Tellarini serta gambar-gambar menakjubkan dari latar salah satu kota paling eksotis di dunia oleh Javier Aguirresarobe, Vicky Cristina Barcelona sebenarnya adalah film yang indah dan enak ditonton. Namun sebagai bagian dari judul, ‘Barcelona’ tidak begitu diintegrasikan ke dalam cerita dan pengembangan para karakternya. Kutipan Maria Elena bahwa “only unfulfilled love can be romantic” terasa ironis mengingat ‘ketidakterpenuhan’ film ini.

Woody Allen has been making a film every single year lately, so, like Takashi Miike, some are bound to be crap. However, I actually enjoyed this movie. Sure, if you’re a monogamist this film will certainly piss you off, but I feel that Javier Bardem is perhaps a fantasized version that Allen wishes he could be; charming, seductive and taking life in stride, as opposed to be neurotic and depressed (you can counter this claim by how Bardem and Cruz turned out in the end, but whatever). The dialogue is a bit pretentious, especially Scarlett Johansson’s quips about how Europeans are so much more intelligent and artsy than materialistic Americans. Damn capitalism!

I loved the movie. The Spanish feel that it has enables all the “pasion” climate that the characters throw around and the sunny aspect delivers a bright/clean aspect to mess around with the unmatched feelings. The contrast between Vicky and Cristina personalities comes to a similar ending due to lack of thrill, in Vicky’s case and in Cristina’s case her complete lack of knowledge to hold on to anything. I really liked both their performances but Javier Bardem does a great job too (i had seen him in “No country for old men” and I didn’t recognize him from there). Penelope Cruz also delivers a passionate performance as Maria Elena.

It’s a beautifull story due to the way that woody allen explores all of the characters, and i also liked the narration!

Watching this a second time the other day, I noticed how much better it played on a repeat viewing. The first time I saw it, I was so bothered by the narration that nearly took me out of the movie; on second viewing, though, for some reason the narration didn’t seem to bother me at all, maybe because I knew where the film was going, or maybe because I was able to anticipate it, and thus just become absorbed in the film itself.

This was the first Woody Allen film I saw, and, while I think it is more uneven than, perhaps, Everything You Wanted to Know About Sex* But were Afraid to Ask, it still is a worthwhile ride. Rebecca Hall is endlessly fascinating as Vicky, but, sadly, her story becomes sidelined as soon as the electrifying Penelope Cruz comes on board, when she completely steals the show. I have never been too big a fan of Scarlett Johansson, except in Lost in Translation, but I think that she is correct for the part here of a girl who literally does not know what she wants in life, no matter what she thinks that she wants.

In the end, both women are still, perhaps even more, unsatisfied, leaving them a bit bitter with hardly any hope for the future. I appreciate this film’s attempt at showing the difficulties of love, how one things leads to another, how one is never entirely sure which way to go, with logic, or with the heart, and how this can cause chaos inside. Woody Allen has made a very good film.

Savvy

Now, I don’t know if it’s due to the multiple glasses of Merlot Donini that I consumed while viewing Vicky Cristina Barcelona (you know, to join in with the characters), but this film was everything I had hoped it would be: it contained the missing ingredient as Maria Elena said (in english). So much culture; so much scenery; so much wine. The setting, the music and the performances were all fantastic. And really, what’s not to love about this outstanding cast (in particular, I’m a big fan of Cruz and Bardem but everything looked great on paper and the eventual execution was lovely). I admit I’m being a bit biased in my critique because it’s been a long-time dream of mine to travel to Spain one day and this film’s romanticized illustration of that beautiful place just reaffirms that aspiration.

When asked about relationships, Cristina states: “I don’t know what I want, I only know what I don’t want.” A prisoner of her own pickiness, as I say (and I can surely relate). Funny that she said that line, because Kubrick stated those exact same words when asked about his directing style. Not sure if there’s any significance in Woody Allen selecting that particular dialogue, but as a Kubrick admirer, I just felt it had to be mentioned. The story (illustrated in the synopsis for your convenience) is a bit idealistic in its convoluted portrayal and examination of three-way relationships (well, other than the bleak but wiser-than-before end results). Although it was very funny too. Better still, the film as a whole felt like a hybrid of the worlds of Woody Allen and Pedro Almodovar, with unbridled self-expression and hilarious drama abound in its colourful characters; simply sublime.

VCB is perhaps the most enjoyable Woody Allen film I’ve experienced in quite some time. Because aren’t we all just European minded artists with contempt for society’s normal values while looking for an outlet for our emotional creativity during the quest for finding true love? Well, I know I am…and with that, this review just got a little bit personal…but I digress. Straight up, Bardem was awesomely charming and gave a good name to Juan Antonio’s everywhere ;) Penelope and ScarJo were the dueling beauties that contrasted eachother effectively (fiery and cool). And Rebecca Hall played the neurotic Woody Allen character quite well (although Woody’s trademark neurosis shone through in all of the women at some point). Do I think this is a perfect film? Not quite, but it’s near 5 stars to me (and so I rounded up). In closing, the Dalai Lama once said that “the purpose of our lives is to be happy.” So then, go for whatever works, right?

I loved this movie. That being said, it would be unfair to give it five stars because I felt that it/he contradicted himself at times. He presents this idea that relationships don’t have to be just two people and we should try figuring out what works not necessarily what’s normal for ourselves. However, why does this relationship have to fall into that annoying male fantasy stereotype of two girls and one guy. If this movie was true to its message the relationship would be a little more creative and interesting and not fall into the typical male fantasy. I really did love this though.

This is a partially unusual film for Woody Allen maybe it’s because it is set in Spain and the country is both artistic and romantic and sensual. This film is one sexy movie now all the leads are of course good looking and have been in tons of other films where they have been sex symbols and objects and that is what most films are there to do to make the actors look the best they can but in this film they practically sizzle the film shows them at there best.

Now in the Woody Allen canon of movies it’s not the best but it is better then some of his others but it still seems slight this one as usual revolves around artists and muses and the philosophy of relationships. As Rebecca hall’s character goes to Barcelona to finish her thesis and is engaged she brings her friend Scarlett Johansen who is a flight sexy beauty and they meet Javier Bardem and both end up falling for him though Rebecca Hall tries very much not to son Scarlett Johanssen ends up staying with him trying to find her own identity but problems soon arise as his ex played by Penelope Cruz comes back into his life.

This is pretty much Penelope Cruz’s movie even though her character comes is not in the film until half way in. She is talked about so much that when she finally shows up she is everything you expect and worse. Javier Bardem is good as the lothario with sex appeal. Which he should be since Woody specifically wrote the role with him in mind and had no other choice lined up to play the role. Scarlett Johansen gives a good experience but she still suffers from the Rosario Dawson syndrome. Where a star actress is always stuck in the girlfriend role. Only here Scarlett is sexy given tons of screen time but not too much to actually do other then be almost a prop in the background always she isn’t given a realistic character to play. On the other hand Rebecca hall makes a deep impression maybe it’s because she is in a way playing the Woody Allenish character the nebbish only this time female. The film is the best looking cast woody has ever worked with.

This is a film that shows the bohemian ideals that seems to be at war with the nouveau riche the establishment represented by Patricia Clarkson and Kevin Dunn. Clarkson’s character is a romantic dreamer who always wonders what if she would have run off with a poor lover years ago she imagines her life could have been more exciting and fulfilled where as now she has money but is bored she loves her husband but he doesn’t seem to return the favor he cares more about business then objects and views her as just another possession I don’t know if that was intended but that is how I felt watching the film.

In essence this is a film about the What If. The ideals and problems you could have by running off with that smooth talker. It is also the nightmare story of the ex-girlfriend who never leaves and haunts and stalks you who takes things to extreme to try and get you back and intimidate your new girlfriend. Though the film doesn’t go the thriller way it chooses to be a little more realistic in a dramedy romantic comedy way

The film is a good movie to watch it is a good time waster. I’d say it is worth buying if it was 14.95 and would be a lot more interesting if Woody Allen gave a commentary just to see what his thought process was since this is such a big departure from his other films which at this point is a improvement. Definitely a step up from his recent films.

I really love the poster for this film. I had to get that out there. The composition and motion are just stunning. Artistry orchestrated for just the right emotion and aesthetic, something you could say about the movie itself. Vicky Cristina Barcelona is a gorgeous piece to view. Not to disregard Woody Allen at all, but I have to credit this look to cinematographer Javier Aguirresarobe. The man acted as DP on some of my favorite Spanish films—Hable con ella and Mar adentro—and now has me anticipating John Hillcoat’s forthcoming The Road even more. Truthfully, besides the obligatory serif font, white on black, utilized in the opening credits, you would be somewhat hard-pressed to even realize that this is an Allen film. Europe definitely inspired the man and I’m happy for it. Whether the likes of Gaudio worked as a muse to him like they did to his characters, I don’t know. What I do, though, is that he could never have made this film anywhere but in Barcelona. The beauty, the intrigue, the exoticness; they all overpower the people moving through the story as well as us watching it all unfold.

Let me say something right off…I didn’t really get this movie. I’m not even sure if there is something to get. On a purely aesthetic level, it is fantastic. The visuals, the art and culture on display, the use of language, and even a wonderfully successful third person narrator make this a creative and stimulating work. I don’t want to belittle the writing or the story in any way; I just didn’t quite get what we were being shown. Without ruining anything, not only do our characters finish at the same place from where they began, but also the narrator pretty much repeats his description from the start, at the close. Sure the events that occur shape their lives at that specific period of time, but neither really do anything about it. Maybe they learned something about themselves, maybe they experienced an intrinsic moment that will leave an indelible mark forever, but when all is said and done, both our leads, Vicky and Cristina, do not evolve. Whether it be a carefully planned out future or one filled with the knowledge of what she doesn’t want, unknowing of what she does, our conclusion is so open-ended that it truly begs the question of if this story even needed to be told.

Don’t get me wrong, I really enjoyed my time, and there lies my quandary. How can I enjoy something I don’t feel was a necessity to be seen? How can I recommend something that I myself deem as inconsequential without any progression in plot? The answer of course is the beauty of that which is art. Art is in the eye of the beholder. What you see doesn’t have to make complete sense; it doesn’t have to make you happy, it may, in fact, absolutely incense you. The sheer ability to touch you in some unquantifiable way, some level of consciousness that you can’t even comprehend is enough. To know it touched you without the need for reason can be more powerful than anything else. The emotions on screen, the relationships on display, all hit you viscerally and physically. The raw power of the love triangles and quadrangles stimulate the mind more than any linear tale of young Americans finding their way in a foreign land. Life is messy and irrational; Allen sees this and paints his canvas like such.

The mixture of intellectual conversation, the brilliance of Javier Bardem’s Juan Antonio seducing these women, not with his looks, but with his soul, is a refreshing thing to behold. His brazen confidence laced with a passion and vigor for life is a powerful weapon. While all he needs is sexual power and exotic backgrounds to woo Cristina, (Scarlet Johansson’s free spirited roaming soul), he can still entrance Vicky, (Rebecca Hall’s amazing turn as the rationally sheltered woman unable to follow her feelings), with his rhetoric and intellect, stories of poets and love for simple music done well, even at twelve in the morning. Never confused about what he wants, Bardem is bluntly honest at all times. He does not shy from the fact he still loves his ex-wife, nor that he is attracted to both girls. Always truthful, he is a genuine lover of life, if something doesn’t work out at least he had his time of happiness. One can’t dwell in pain or loss, as no one knows what path the future holds. What might not have worked now doesn’t necessarily have to be broken later on.

Along with the visuals come these gem performances. Bardem is amazing as the puzzle piece linking everything together, stirring the pot while also being its most important ingredient. Johansson, I must say, was really good. She never annoyed me and effectively played the naïve American, thinking she is this open spirit without the knowledge of what practicing her thoughts could lead to. She may not be as open in love as she thought, but then without the experience how could she ever know? As for Hall, I have to say she was somewhat of a revelation. The one actor I was in the dark about outshone them all with her range of emotion, hiding behind her safe life and husband while torn inside about the passion she desires, but is too afraid to consume. And I must mention Penelope Cruz who comes in like a whirlwind and never stops. She is the wild card in this little game, acting as both the glue and volatile fire. None of these four could be removed from the machine and still achieve success. Allen has crafted a tight web of romance that, while it may not lead anywhere, still brings forth a journey worth taking. If nothing else it’s a beast befitting a voyeuristic glance.