Woody Allen returns to the cinema with Stroke of lucka film that is not unforgettable but manages to be appreciated.
In a year which saw the return to cinema of many 90’s Hollywood stars (Scorsese, Scott, Anderson, Nolan among all) could not miss the everlasting Woody Allen with his Stroke of luck. The film, for many reasons, however, takes second place compared to much more committed and demanding productions such as “Killers of the Flowers Moon” or “Oppenheimer”: to a certain extent repetitiveness of themes, partly due to the scheme and narrative style adopted – now increasingly stale – the film it fails to stand out within a market that is more saturated than ever. But some precise strengths that Allen’s skillful hand managed to enhance still make it one enjoyable show. In short, in a year dominated by great stories and great characters, Allen’s intimate and bourgeois approach gives us a pleasant variation on the theme.
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The American director’s signature remains the same ever: the film moves on the tracks of irony, of mocking and casual coincidence, of the plot told with simplicity and essentiality. The most pleasant aspect of the whole film is the lightnessalmost Calvinian, with which Allen manages to glide over a story that in some places takes on the characteristics of a true thriller. Stroke of luck it’s a film that doesn’t take itself seriously and at the end of the day it’s precisely this lightness that it is the strong point most important of the work. In its banality, it manages to identify the viewer with the lives of the protagonists without commitment and without pretensions, also lending itself to interesting food for thought about typical themes of Allen’s cinematography such as luck and chance, love and betrayal.
Speaking of themes, the way you decide to treat the idea of past that returns and regret is absolutely noteworthy. Starting from the very first scene and throughout the film, the spectator understands that he is faced with characters with a very specific story behind them and which inevitably results in the sum of their decisions and their mistakes. The past of the protagonists thus constantly comes back to deal with their present, sometimes in a way that is perhaps too crude and obvious, but always very evocative. The film thus invites the audience to remember the complexity of the figures on stage, deliberately leaving doubts and uncertainties about who the characters really are and their choices. Overall, Allen manages to entice the viewer, pushing him to try to understand the future scenarios of the plot starting from a good outline of the character of Fanny and the rest of the cast.
One of the most important reasons for being of this film is perhaps the consecration of Lou de Laage. The French actress gives us an elegant and high-level performance, distinguishing herself above all in bringing out the inner turmoil of an upper-class woman who has everything in her life, except what he really wants. The thirty-three-year-old actress is making her first international production and she hopes that the media coverage of Allen’s film will finally allow her to get noticed outside the French borders. The performance was also good Niels Schneider, who manages to discreetly slip into the part of the slightly bourgeois, slightly naïve intellectual. An acting performance that embodies the spirit of the film well.
The real protagonist of the film, however, is only one: the city of Paris in autumn – one of the favorite settings of post-Manhattan Allen: melancholy, markedly bourgeois but at the same time unfailingly bohemian. The photography and direction pay fitting homage to a city that is inextricably linked to the life and love and work affairs of the characters. From tree-lined parks to the attics of residential buildingsthe film gives us a Paris that is more intimate and romantic than ever and this only makes it worthwhile Stroke of luck even more pleasant and smooth. The eye wants its part and few films, in recent times, have managed to be like this visually satisfying like the one in question. In short, if in these pre-Christmas weeks you found yourself with an hour and a half free from commitments, an escape without pretensions and worries in Allen’s Paris it might be right for you.
2023-12-15 18:00:00
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