Woody Allen Scores with Match Point

Directed by Woody Allen
Starring Jonathon Rhys-Meyers, Alexander Armstrong, Emily Mortimer
Rated R

Woody Allen’s newest film is gaining critical acclaim as one of his best in years. No doubt Allen has stirred up something peculiar, even for him, but in doing so stumbled on yet another story of human complications that has left audiences contemplating the struggle between morality and destiny.

Perhaps it is Allen’s notorious reputation for delivering intelligent, existential humor through sex, infidelity and irony that brings viewers to the cinema, but in Match Point it is the unlikely twists and curious outcome that leaves them astonishingly satisfied.

The film begins as what you would, but really wouldn’t, expect from Woody Allen. We have a couple of couples, and the inevitable triangle of temptation set to a posh London backdrop. The chemistry between the characters obviously lacks the familiar awkwardness we’ve warmed up to in films like “Manhattan,” “Annie Hall,” “Mighty Aphrodite” and even “Anything Else,”

After Chris (Jonathan Rhys-Meyers), a former tennis pro, meets a wealthy new friend, Tom (Matthew Goode), he starts to like Tom’s sister Chloe (Emily Mortimer), and really enjoys the ins of the family’s rich lifestyle. But after Chris meets Tom’s sexy fiancée Nola (played by Scarlett Johansson) he becomes infatuated with her. Infidelity soon finds its way into the story, and the ball bounces between each lover’s court as games of lust often do. Morality, selfishness, temptation and luck propel Chris’ life in a shaky new direction that culminates into a unique twist of intrigue.

The film is graced by impressive performances by Rhys-Meyers, Good and Mortimer, but Johansson delivers the most passionate act of all. Ah yes, Scarlett. No wonder her face suits perfectly the character she plays, a seductive, out-of-work actress who manages to captivate the sexual intrigue of almost every male character in the film, not to mention every man in the theater. Although she played her part well, the performance doesn’t compare to her 2003 role in “Lost in Translation.” Johansson is flawlessly beautiful in Match Point. At first, the captivating curves of her face, above all her lips, would have done just as well depicting the sensuality of Nola’s character without any words. But as time goes on, Nola’s aura transforms from aloof to a desperation that is trickled with distinct human grit.

Viewers might see similarities between Match Point and Allen’s 2004 film “Melinda and Melinda.” One being that HE’S NOT IN IT, which may contribute to another: it isn’t candidly funny. But beyond lacking the neurotic ramblings of an eternally middle-aged comedic genius, the film centers more firmly on a purpose. Not just an analysis of love; who’s right, who’s wrong, and the unanswerable question, “Well... (adjusts black rimmed, Coke-bottle glasses) why, really?” but more so takes a rather startling look at the magnitude that chance plays in life. The peculiar outcome in Match Point, along with the circumstances leading up to it, examines destiny as an ever present force hovering over our own menial choices.

Before “Melinda and Melinda” clearly confronted the question, “What is the essence of life, tragedy? Or comedy?” most of Allen’s earlier films insinuate that he’s swaying more towards comedy. Now we are left to contemplate a shift from humorous reality to one that is harshly tragic. Match Point makes it obvious now more than ever that Woody Allen has contributed a plethora to modern pseudo-philosophical thought.

The film earned four Golden Globe nominations, including Best Picture, Best Supporting Actress, Best Director and Best Screenplay.

As published in The Massachusetts Daily Collegian on Jan. 30. 2006