La estructura de documental interpuesta con la narración de la ficción (ejemplo: Zelig) funciona de manera conmovedora dentro de su propio estoicismo. Emmet Ray es brillante a todas luces pues, a pesar de su notoria soberbia, es tan carismático que la audiencia no puede evitar empatizar. La ternura de Samantha Morton es inigualable, vital en la historia. La última escena de Sean Penn es lo mejor de su carrera.
This is, for me, one of Woody's ten best. Morton is sweet and heartbreaking, Thurman is charming and the cinematography is gorgeous. And Penn, and that music, are sensational. Woody was stunned by Penn's professionalism and dedication on this project, having heard (as we all have) so many negative stories about him. My one quibble is that whenever Morton is offscreen, the air tends to go out of the movie.
A musical fantasy picturing ALLEN's love for jazz & an opportunity for him to gather John WATERS, S. PENN, U. THURMAN, Anthony LAPAGLIA around the theme of the artist's ego who ruins his love life. === Une fantaisie musicale illustrant l'amour de ALLEN pour le jazz & une occasion de réunir John WATERS, PENN, THURMAN, Anthony LAPAGLIA autour du thème de l'ego de l'homme artiste qui plante sa vie amoureuse
Not bad. Expected far worse considering my general dislike of Allen's later period. Ended up being very cute, kinda sad and very funny with a wonderful lead performance by Sean Penn. Definitely better than expected and loved the La Strada references. Overall a pretty good film, but by no means great filmmaking.
Good-hearted and entertaining musical comedy portraying Jazz era on the road. In the focus is an egomaniac musician, but with such a personal and human story behind him it makes the whole thing seem quite believable, and you'll easily find yourself in search for some of Emmet Ray's albums. In hands of a capable director the film avoids caricaturing it's two sketchy protagonists.