#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Al, Louise, Max and Sy – four literary types who work in the theater business – are discussing what they believe to be the real life truths underlying their work, Max who writes primarily tragic plays, and Sy who writes primarily comic plays. Al proceeds to tell them a real story of a troubled woman named Melinda Robicheaux showing up unexpectedly at a door in the middle of an important business dinner party. Melinda long ago left her physician husband to embark on a relationship with who she initially believed to be the man of her dreams, which ended up not being the case. Melinda tries to put her life back together with the help of select people at the dinner party, some who have their own ulterior motives. Melinda’s appearance also opens up the cracks existing in the marriage of one of the couples at the dinner party, while it leads to the dissolution of a friendship that has existed since college. With this basic outline of a story, Max and Sy try to make their point of life being truly a tragedy or comedy on spinning Melinda’s story with their own mindset.
Plot: While dining out with friends, Sy suggests the difficulty of separating comedy from tragedy. To illustrate his point, he tells his guests two parallel stories about Melinda ; both versions have the same basic elements, but one take on her state of affairs leans toward levity, while the other is full of anguish. Each story involves Melinda coping with a recent divorce through substance abuse while beginning a romantic relationship with a close friend’s husband.
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|6.4/10 Votes: 31,207|
|6.3 Votes: 307 Popularity: 11.254|
Witty, incisive, refreshing
This film probably marks the crucial point where Woody Allen takes one step back and lets others take over the Woody persona of a typical Allen film. It’s happened before, in Celebrity and Anything Else, but now the lead characters can breathe as themselves without having to essentially ‘be Woody’. Sure the resemblances are still there but more in the situations than in the characters. Will Ferrell displays proper comic timing and Jonny Lee Miller tries valiantly with what he’s given. The script sparkles with more one-liners than most recent efforts and an appropriate return of the ‘lust for life’ motif seen in earlier films such as Hannah and Her Sisters or Everyone Says I Love You. If you don’t appreciate that comic situations are both sad and full of life, and that tragedy has a fair share of unexpected delights as well as heartache, than you’re definitely missing the point. Woody displays both of these in equal quantity spread liberally throughout the film in all situations. And so what if the end plays more like a series of sketches than a full-on film? It’s the mark of a master than can make us enjoy what we see regardless of narrative form. 8 out of 10.
Pretentious People Drinking Wine in Manhattan
Melinda and Melinda is populated with self-absorbed, know-it-all characters who pepper their sentences with words like “Proust” and “sonata” and who reminisce about their days at Vassar. These are the kinds of people you roll your eyes at and would never be friends with in real life. So why did Woody Allen think we’d want to sit for 100 minutes and watch a movie about them? The premise is virtually impossible – two movies within a movie – one a comedy, the other a drama, both featuring the same central character. The script is pompous and swollen-headed, and the casting is atrocious. Aside from Radha Mitchell, who almost pulls off playing Melinda as both a tragic figure and a loopy New York City free spirit, the actors fail miserably. Chloe Sevigny can’t overcome her gawky appearance and unpolished delivery enough to make us believe she’s a well-educated arts patron. When she says the line, “I haven’t been to a dark bistro since college,” you want to laugh, even though it’s supposed to be a serious moment.
But it’s Will Ferrell who turns in the worst performance (perhaps the worst of 2004) by attempting a Woody Allen impersonation. I can’t believe there wasn’t a point during the filming of this movie when Woody himself didn’t think, “I gotta fire this guy and just play the role myself.” In a particularly excruciating scene meant to be played for laughs, Ferrell babbles on a la Woody about hating the beaches of the Hamptons. It’s not funny; just painful.
The other actors are wasted in their parts – Steve Carrell plays the sidekick role normally reserved for Tony Roberts in an Allen movie, and Amanda Peet is a big dud as the new Diane Keaton.
If it weren’t for the different characters populating the worlds of the two Melindas, I wouldn’t have known which story was supposed to be the funny one and which story was supposed to be serious. It didn’t help that I really didn’t give a damn about what happened to either of the Melindas, and I kept hoping that a homicidal character from one of Woody Allen’s other films, like Crimes and Misdemeanors or Match Point, would show up and kill all the irritating people.
To top it all off, the movie’s premise is framed by a gaggle of annoying artsy-fartsy types having dinner in a restaurant and discussing the merits of comedies versus dramas. Blech.
As with a lot of Woody Allen’s films, the two story lines of Melinda and Melinda simply end with no real or satisfying resolutions. That normally frustrates me, but in this case, I was overjoyed, simply because I wanted the whole awful experience to be over for me. Thank God Woody redeemed himself with better films after this one; otherwise, I’d have had to write him off completely.
Original Language en
Runtime 1 hr 39 min (99 min)
Genre Comedy, Drama, Romance
Director Woody Allen
Writer Woody Allen
Actors Wallace Shawn, Neil Pepe, Stephanie Roth Haberle, Larry Pine
Production Company Perido Productions
Sound Mix Dolby Digital (Mono)
Aspect Ratio 1.85 : 1
Laboratory DeLuxe (color and prints)
Film Length N/A
Negative Format 35 mm (Kodak Vision2 500T 5218, Vision Expression 500T 5284)
Cinematographic Process Spherical
Printed Film Format 35 mm