Review of Vicky Cristina Barcelona (2008) by Matthew B — 29 Aug 2010

Allen's biggest success this decade has been Match Point, which tackled themes as ancient as Grecian drama - chance vs. fate, the role of murder in social interaction, the nature of guilt and the meaninglessness of success and happiness.

Vicky Cristina Barcelona tackles themes which are much timelier (though not necessarily more relevant) with verve. That Allen, who was so influenced by Bergman and Fellini in his early films, should be able to so eloquently (and subtly) critique the American-bohemian fixation upon all things European without being tempered either by cynicism or naïveté is particularly wonderful; his ability to shift between a harsh look at American bourgeois values (Vicky and her marriage quickly spiraling into a maelstrom of upper middle-class boredom and despair) and an equally trenchant examination of a young American who has the means to move to Europe and abide among 'starving artists' (Christina and the markedly insane pair Juan Antonio and Maria Elena) is truly extraordinary, and it reveals that the man who made Hannah and Her Sisters can still balance fine filmmaking, excellent comedy, and thought-provoking storytelling in a cohesive package is still alive and kicking.

Apart from all of that, the film features superb performances, especially Penelope Cruz's wonderfully natural work as Maria Elena. The character, like Bizet's Carmen, is a woman whose sexual power makes her equally titillating and dangerous to those around her, and she could have easily been depicted as a one-dimensional artiste-vamp by a lesser actress.

Cruz makes the character plausible, and her ability to juggle the role's madcap eruptions with a level of supercilious humor is indeed Oscar-worthy.