Cassandra's Dream

Anybody who reads this probably already knows my feelings about Woody Allen so the thought of an unbiased review was thrown out the window some time ago. That being said, this is probably the most un-Woody Allen movie that Woody Allen has ever made. Set in the working class neighborhoods of London this film moves and sounds unlike anything else he has made. From the opening notes of Philip Glass' original score to the rhythm of the dialect, Allen seems to be treading new water with the film.

Ewan McGregor and Colin Farrell play Ian and Terry Blaine, Ian a partner in his dad's restaurant, Terry a heavy drinking, chain smoking mechanic. Terry is almost comfortable with his life, although he gambles unwisely at the dog tracks. Ian also wants cash, and not only for an opportunity to invest in California hotels as he tells anyone that will listen. The two do a good job portraying brothers but Farrell is especially convincing as a man who's worries follow him around no matter where he is, only allowing himelf moments of clarity and usually only when he is alone with his brother.

Not that any of the Woody Allen trademarks don't show up. Even in this, one of his most serious of plots, some dark, dark humor shines through. Instead of the usual witty one liners though these laughs are from the strained situations the characters find them in. It is almost like the laughter that is forced out when you are some uncomfortable that you have no choice. The camera also still slowly hovers around the characters, taking its time before cutting. And, of course, there is the simple title sequence, white type on a black background.

Allen takes his time letting the audience get to know the characters and then he ups the ante and doesn't let go until a surprisingly abrupt finale. The story slowly gets more and more tense until it has no other option but to explode in one final unexpected outburst. The entire second half of the movie is like the few scenes leading up to Angelica Huston's murder from Crimes and Misdemeanors (in my opinion, one of Woody Allen's best directed sequences) but instead of lasting five minutes it lingers for the remaining of the run time. He grounds these scenes in reality that makes you understand why these characters are making these choices. It adds another layer of nervousness and you almost get the same uneasy feeling the characters are experiencing just watching them.