ElMaruecan82
For all its good intentions, witty humor and optimistic spirit, "Mighty Aphrodite" incomprehensibly falls flat for me. I use this adverb because I'm a fan of Woody Allen's work, to the point I tended to ask myself what's wrong with me, instead of the film. Though I can't really say I didn't enjoy the film, but the enjoyment was hanging on this very particular relationship between Woody's character Lenny and the cheerful prostitute named Linda, and my appreciation depended on the way all the players would handle that interesting dramedy.Regarding Linda, she's played by Mira Sorvino, daughter of actor Paul Sorvino, the unforgettable Paulie in "Goodfellas" and she wasn't bad either. Her performance earned her an Oscar-win and the sole awards recognition of her career, I wish I could use more enthusiastic superlatives, but in my humble opinion, just because she was the highlight of the film (and yes, she was) doesn't mean much when the rest doesn't aim very high, by Allen's standards. She stole the show, she had a fantastic presence and comical timing and was probably worthy of her Oscar nod, but she didn't create something we hadn't seen before, anyway, not after Whoopi Goldberg, Julia Roberts, Marisa Tomei or Judy Davis.Of course, her performance was integral to the psychological interest of the film, because she starts as your usual not-too-bright hooker with a heart-of-gold, and progressively displays a deeper and sadder personality. But let's face it, this is not the most revolutionary character's arc for a prostitute and the main problem is that Woody Allen drives it for the most frustratingly conventional reasons instead of using the plot devices the film asked for, or to be blunter, of exploiting the very psychological mood he was caught up into after his separation with Mia Farrow and the controversy about his "adoptive daughter". I can understand he chose to swim in safer waters but it deprived the film from what could have been an interesting character study, not devoid of humor when handled by the talent of Allen.So, let's get back to the story: you have a sports reporter married to an ambitious artist and soon-to-be gallery owner, Amanda, played by Helena Bonham Carter. She wants a child, but she's in such a turbulent time of her life, she decided to adopt one. At first reluctant, Lenny instantly loves the little boy and the first segment of the film is pure Allenian comedy. What comes next isn't the less interesting: the boy turns out to be a very good-looking and intelligent kid and a constantly impressed Lenny, became a doting father, at the expenses of his marital relationship. In a short sequence that doesn't strike for its 'Annie Hall' subtlety, we understand that the couple comes across a marriage crisis, and even in bed, nothing works.Lenny transfers his fading love from Amanda to the eventual mother of Max, and decides to find her. He ends up meeting Linda Ash, a failed actress turned into porn star and prostitute, personality and eccentricity-wise, she's like Phoebe Buffay hadn't she got her "Friends", sweet, caring and lucid enough to see that Lenny is a loser, in a quest of a woman who can provide some special treats. At this part of the film, the script develops a great friendship story reminiscent of Jack Lemmon and Shirley MacLaine in "Irma la Douce", and it's quite touching when he tries to comfort her or help her to find the true love. There was one thing missing though to allow Sorvino to transcend the predictability of her character (the prostitute who wants the fairy tale), she needed at least to have a hint about her son's identity.As if Allen was aware that this would be expected from viewers, he leads the film to some sort of ironic ending, which is satisfying in the sense that it's the only acceptable resolution of a story that oscillated so much between tragedy and comedy (so, yes, the ending is full of witty irony and I give him the credit for that). But it's a rather empty nutshell that doesn't give you as many insights about love and hubris as his brilliant "Husbands and Wives". At this point of the review, I have to mention the Greek chorus, a creative artistic license, commenting on the universality of the themes handled by the story, but I thought this device was slightly overused by the end, and drove the story to levels of parody that didn't fulfill the emotional potential of the drama. Or maybe am I the only one seeing this potential?To me, when you have a character who's obsessed by the identity of the mother of his adoptive son, it's very revealing of his opinion about his wife, when you think about it. Lenny doesn't even consider the possibility that the good genes might come for the father, and the way this part is left unanswered can be taken as plot contrivance except if you consider the feelings Lenny has towards his wife, and see reasons for his dismissing her maternal quality. In the case of Woody Allen, you can almost psychoanalyze it and see underneath the investigation lead by Lenny, an attempt to dissociate the daughter he was in love with, with her mother, and by that process, stop feeling guilty about his own relationship, there's a part of hubris behind that. And maybe this was too ugly material to handle in a comedy.Or maybe it could have worked, had it permitted the confrontation between the kid and any of his mothers (we never quite see him interact with Amanda), instead of using as a MacGuffin for the friendship story between Lenny and Linda, and the ensuing love triangles, handled with delicacy and good humor but nothing very revolutionary. In the end, what could have been an interestingly cathartic dramedy of Woody Allen, became "that movie" that earned Mira Sorvino her Oscar.
OJT
I really live some of Woody Allen's films, which are laugh out funny, or great. Others I really don't like. They are talkative, and boring if you're not in the mood.Mighty Aphrodite is a mixed blessing. The best are just great, but I'm afraid to say I think the film sometimes loses grip. It's a typical Allen film, with the annoyingly talkative Allen interrupting the women in his life, and this has a drive that many loves.I've got a trouble with the start, which is dull. The Greek choir in the beginning feels quasi cultural, and too often it takes over. Then the film loses momentum, even if there sometimes are funny parts. The plot is good, and Mira Sorvino went away with an Oscar for her role as the hooker. Some scenes are hilarious, and Allen at his bestI'll end the review with one of the great lines from the film, from Linda Ash: - You didn't want a blow job, so the least thing I could do was buying you a tie!If you want to check out Allen's best, they are "Loved and death", "Small time crooks", "Annie Hall" and "Match point".
KineticSeoul
This is a fine writing and storytelling by Woody Allen. It's actually clever and humorous, despite situations that could be serious. This movie goes in more of a light-hearted approach. With a bit of fate and ironic circumstances thrown in, that works well as a whole. Even if some of the humorous parts, rely on dense characters a bit too much. When it comes to the ironic direction of the characters. Woody Allen plays this husband that is with a controlling wife that decides to adopt a baby. Later Woody Allen looks for his son's real mother, because of ulterior motives. And ends up controlling her, even if in his case he is doing it with mostly good intentions. But the ironic, clever, dense humors is blended in well and fits together with the story as a whole. Although it does get a bit self-indulgent at times. Mainly do to the fact that Woody Allen's character in this being the only rational or at least the smart one for the most part. While everyone around him is either naive or dense. Besides his self-conscious and imaginary sidekick. Overall I thoroughly enjoyed this flick and how it all played out. One of Woody Allen's good works. The term "the curiosity killed the cat" is a positive thing when it comes to this. And also one the best part about this movie is Mira Sorvino who just owns the role as Linda Ash. 7.6/10
