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Features
• PAL
In Theaters : 03 January, 1997 |
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Everyone Says I Love You description
Writer-director Woody Allen has produced yet another challenging and funny film, this time taking on the musical genre and bending it to his own unique vision. The result is one of the most charming films in recent years, as Allen assembles a typically sterling ensemble cast to evoke the romanticism of years past. This time, the large cast (including Alan Alda, Drew Barrymore, Goldie Hawn, Edward Norton, and Tim Roth) not only turn in funny and touching performances, but they sing the classic songs of the 1930s and 1940s themselves, and sing them very well. The plot centers on an extended family in New York and their various romantic entanglements, including Allen's pursuit of Julia Roberts through the streets of Paris and the canals of Venice. The musical numbers are the film's high point, displaying wonderful choreography ranging from a room full of dancing Groucho Marxes to a dancing couple in flight at the banks of the Seine. Everyone Says I Love You is a witty and entertaining fantasy, and a truly romantic escape. --Robert Lane |
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Everyone Says I Love You Customer Reviews
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Woody Allen loses his mind--to the audience's advantage
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| Watching "Everyone Says I Love You," it is possible to conclude that Woody Allen has gone insane--charmingly and endearingly, but completely, bonkers. A typical Allen-esque New York comedy of love and romance is given a special charge by turning the film into a musical; though Allen has often used classic jazz and show tunes effectively in his other works (especially the Gershwin score of "Manhattan" and the lovely big band tunes in "Hannah and Her Sisters"), this is his first full-out musical with actors bursting into song to (more or less) further the plot. Some, like an endearingly game Edward Norton, shine almost in spite of themselves; some, like Julia Roberts, go down fighting. (Score at the final: Roberts 6, song 2, audience 0.) And some, like Goldie Hawn, positively glow given the chance to show off all of her formidable comedic, singing, and dancing gifts in one package again. Bits of the plot are cribbed from other Allen films (the romances are from "Manhattan," a thread involving a "reformed" criminal echoes "Take the Money and Run"), but the actors--especially Tim Roth as the aforementioned criminal--seem to be having a ball. When Norton and a never-dewier Drew Barrymore are loose in a springtime New York so enchanting that even the store window mannequins have to strike a special pose for them, you get a happy, fizzy glow. And when a set of dancing ghosts causes a conga line at a memorial service, all bets are off; Allen may have officially crossed over from neurotic to delusional, but this adorably addle-pated film is never less than endearing. |
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