It's hard to get past the notion of Woody reinventing his own neurosis and sexual deviations (in an unimpressive faux-documentary this time) within every single character, and tangling up the plot just to follow some personal already-seen dilemmas rather than any open discussion on the topic. Davis-Pollack relationship in particular, worked well for the story, but at the price of a hardly convincing resolution.
One of Woody Allen's very best; great dialogues and complex reflection on relationships and marriage. Really interesting use of handheld camera for most of the film, with the camera becoming a character itself and shaping the events with its movements. Thank you, Woody!
Allen: "Pick up the camera, forget about the dolly, just hand-hold the thing, and get what you can...And then, don't worry about color correcting it, don't worry about mixing it so much, don't worry about all this precision stuff and just see what happens. When you feel like cutting, just cut."
It's certainly picked up an added subtext given the scandal of the last 25 years. But even if Allen and the Farrows hadn't blown up the internet with a complicated, unwinnable debate, this'd still be one of his most brilliant, corrosively honest films, a look at lies we tell ourselves (sometimes with good reasons, sometimes not) and the elusiveness of lasting satisfaction. And he gave the most soulful role to Mia.
I'm loathe to admit it, but Woody Allen is becoming something of a guilty pleasure of mine. Sure he always plays the same part & his films tend to revolve around very similar themes, but my God does he understand people. Surely he is one of the best script writers of all time. It's all so natural the way dialogue squabbles for top spot & petty arguments unfold. Clever, watchable, funny & worryingly easy to relate to.