Life, love and passion

Vicky Cristina Barcelona (2008)

Written and Directed by Woody Allen

Cinematography by Javier Aguirresarobe

"Barcelona" Performed by Giulia y los Tellarini

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Vicky Cristina Barcelona is essentially to Barcelona what Manhattan is to New York City. Woody Allen’s latest film showcases gorgeous, sun-soaked Barcelona and its 2,000 year-old cultural history with its Gothic architecture by Gaudi, renowned museums, fine wines, rich foods, picturesque countryside, idyllic shoreline and warm, balmy nights wonderful for candle lit dinners accompanied by beautiful music from a flamenco guitar.

Like Manhattan, Vicky Cristina Barcelona is concerned with attractive, affluent, intellectual and artistic (Vicky is working on her masters in Catalan studies and Cristina is involved in film) people unsure of what they want in love and relationships. Even deeper below the surface there is an examination of an American male archetype versus European mores, the passionate life versus a routine, mundane existence and at the heart of the film is the question: what makes people happy in life and love? Needless to say there is a lot going on thematically in the film.

At the center of the story are the title characters and best friends Vicky (played superbly by Rebecca Hall) and Cristina (Scarlett Johansson) who ventured to Spain at the invitation of Vicky’s aunt Judy Nash (the always excellent Patricia Clarkson). Vicky has a pragmatic view of relationships and values stability (or so it seems) however unspectacular it may be. Cristina prides herself on being free-spirited, open to new things and likes a man that’s exciting, creative and spontaneous, or so it seems. The only thing for certain with Cristina is that she doesn’t want what Vicky values in a man.

Vicky and Cristina’s fixed ideas of romance start to change once they meet Javier Bardem’s Juan Antonio, a Spanish lothario and bohemian painter who believes life is meaningless, so it must be lived with spontaneity and passion. Juan Antonio introduces himself to the girls and propositions both of them for a weekend of fine wine, good food and lovemaking in Oviedo, the capital city of the principality of Asturias in Northern Spain. Juan Antonio’s advances and direct way of conversing with women may seem sleazy but it is coming from a charismatic man with no subterfuge or wicked intentions who believes in everything he says. Plus, Woody’s terrific screenplay and Bardem’s charm ensures that Juan Antonio remains likable and never devolves into absurdity.

One of the most fascinating things about the film is the contrast with Juan Antonio and Vicky’s fiancé Doug (Chris Messina). One of the funniest scenes in the film is Doug arriving in Spain clad in khaki’s and a button-down shirt. Doug is an accurate depiction of the under-cultured American male archetype frequently perpetuated by the mass media as the “average male”. He is a successful businessman who enjoys golf, new technology (Hi-Def Televisions and entertainment centers) and discussing sports and practical things that can be built or fixed. Naturally, there is nothing wrong with being this type of person if it makes one happy, but Doug seems like a square when contrasted with the exceedingly interesting Juan Antonio.

Ironically, Vicky’s aunt Judy Nash (the always excellent Patricia Clarkson) is bored and unhappy in her marriage to her husband Mark (Kevin Dunn) and craves a more passionate love. Vicky wonders if the same fate might await her with Doug and meeting Juan Antonio forces her to contemplate her once stringent views on love.

Juan Antonio’s ravishing ex-wife Maria Elena (Penelope Cruz is fantastic) is a painter, a hopeless romantic, an emotional firecracker prone to wild mood swings, somewhat of a poet and a tragic character (She once tried to kill Juan Antonio or was it the other way around? It’s uncertain). Among the four main characters Maria Elena is the most damaged but is the most knowing. She says her marriage to Juan Antonio should have been ideal because the two were perfect for each other but something was missing. Maria believes that because their love was unfulfilled it is romantic. Maria Elena and Juan Antonio change Vicky and Cristina’s conceptions of love and the role of passion in one’s life.

Leading up to the release of Vicky Cristina Barcelona much was made of a scene in which Cruz and Johansson kiss. Not surprisingly this was overblown by the media. Those familiar with Woody’s work knew to expect a less-is-more tasteful approach in handling this content (although rumors of the scene undoubtedly intrigued many casual film-goers). Later in the film the relationship between Maria Elena, Cristina and Juan Antonio is very similar to the bohemian relationship between Catherine, Jules and Jim in Francois Truffaut’s Jules and Jim (1962). I think Woody handles this very well as the relationship between the three does not go over-the-top nor does it overshadow the strong narrative. Those going into the film hoping to see something lewd and sensational will be disappointed (but that should never be the sole reason for wanting to see a film).

All in all, Vicky Cristina Barcelona is visually stunning, funny, sexy and an introspective film which should satisfy Woody’s devotees and casual film-goers. Not to go unrecognized is the exceptional cinematography by Javier Aguirresarobe. Not only is Vicky Cristina Barcelona Woody’s best film since Crimes and Misdemeanors (1989), but it’s also his best looking film this side of Manhattan (1979). Most of all, Vicky Cristina Barcelona serves as reminder to all that Woody Allen remains one of film’s premier auteurs.

THE GREAT SCENE

Without giving away too much, my favorite scene involves Vicky and Juan Antonio accompanied by some incredibly affecting flamenco guitar music and series of close-up lap dissolves. I cannot recall a Woody Allen film ever using lap dissolves. The music, the editing and the cadence of the scene is quite moving.