3.8 I love Woody Allen's ability to alter complex human emotions into something completely relatable to an audience. The director has a way with words, unlike any other and I always appreciate his films for that reason. The daughters were amazing as isolated entities, but not as good when forced to mesh as a unit, and specifically with the father. This film is G Willis at his finest, and I was stuck in awe.
Allen has always been open about who he steals from—Bergman, Fellini, etc.—but his appeal has always been how those stolen elements chemically react to a comic who idolized Groucho Marx. So what happens when you (ambitiously) take all comedy away? Turns out it's pretty damn effective, even if stuck in the shadow of others. Note Allen's working class background and that the film's "vulgarian" is its warmest character.
Allen's homage to Bergman is derivative of the latter's work in obvious ways, but Allen really put his own stamp on the film, making it altogether something new & beautiful. It's unfathomably pretentious- as to be expected of the circumstances (& Allen films in general)- it may be unrelatable, but it's believable. Fantastic ensemble cast, some of the best wardrobe, set design & cinematography you'll ever see.
Bergmanesque fashion and characters, fully aware of their flaws, yet they long for acknowledgement of what it's not. But it's a lot more than a homage to one of the greatest cinema masters, it is a postcard of the haunted sea and melancholy of the passing summer, a nightmare that creeps pass the bedroom and humor that is eternally sustained between cries and whispers. And it's simply Woody Allen's greatest work.
8/10. Dramatic and completely lacking Woody's signature humor, INTERIORS is nonetheless an impressive film, one that's hard to watch in its harrowing portrayal of how a family can be wrenched apart. In particular, the odd, slightly surreal finale is especially memorable.
Allen proves, he can do drama; the finest. Whether or not associated with Ingmar Bergman; does it matter? Not at all. This is not the issue. The issue is that I like Woody Allen for what he stands for. And that is comedy, romance, fun, jokes. But here there is no nothing Allenish; no Woodyism. Just pain. Despite all that this is one of Allen's (atypical) best. Masterpiece.
Cinematography by Gordon Willis. A frame would be enough to make this a memorable film: when Geraldine Page first attempt to suicide, she falls in the solitude of her impressively refined living room. As an indoor by V. Hammershoi, the female figure is cut in a space, framing it with her intrinsic and restrained interior content. Secondly, rarely an actor reached a high dimension as Page does, literally volatile.