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Woody Allen takes another excursion into Bergman territory with 1988's Another Woman, a riveting character study that fascinates due to unconventional story presentation and brilliant performances.
Gena Rowlands, in a performance that rivals A Woman Under the Influence, plays Marian, a college professor who has just turned 50 and has taken a sabbatical from her job to write a book, who we learn has spent her entire life shielding emotions and keeping people in her life at arm's length. Marian begins to take stock of her life when, through an acoustical snafu, she is able to listen to a psychiatrist next door and finds herself drawn to the plight of a pregnant patient (Mia Farrow) whose current troubles are revealed to have parallels to Marian's life.
It is fascinating watching Marian's life revealed out of sequence as we see the influence she has had on people in her life without even realizing it, especially the reveal of a desire to have a child that was never realized. Ironically, the most fully realized relationship Marian seems to have is with a stepdaughter (Martha Plimpton). We watch as Marian's long ago affair with a writer (Gene Hackman) inspired a character in his latest book and as a childhood friend (Sandy Dennis, in an explosive performance) reveals her long buried resentment of Marian. And amidst her judgment of others, we learn that Marian's seemingly solid marriage to Ken (Ian Holm) isn't all it seem to be either.
Woody has constructed an uncompromising screenplay that is merciless on its heroine with flashes of fantasy and his direction is bold and evocative, producing some scenes of unbearable tension, the arrival of Ken's ex (Betty Buckley) at his engagement party defines awkward. As always with Woody's films, music is a key factor and this time it is comprised mostly of some really beautiful piano music that perfectly frames the story. Woody has crafted an emotional and economical character study that haunts during the closing credits.
Woody Allen takes another excursion into Bergman territory with 1988's Another Woman, a riveting character study that fascinates due to unconventional story presentation and brilliant performances.
Gena Rowlands, in a performance that rivals A Woman Under the Influence, plays Marian, a college professor who has just turned 50 and has taken a sabbatical from her job to write a book, who we learn has spent her entire life shielding emotions and keeping people in her life at arm's length. Marian begins to take stock of her life when, through an acoustical snafu, she is able to listen to a psychiatrist next door and finds herself drawn to the plight of a pregnant patient (Mia Farrow) whose current troubles are revealed to have parallels to Marian's life.
It is fascinating watching Marian's life revealed out of sequence as we see the influence she has had on people in her life without even realizing it, especially the reveal of a desire to have a child that was never realized. Ironically, the most fully realized relationship Marian seems to have is with a stepdaughter (Martha Plimpton). We watch as Marian's long ago affair with a writer (Gene Hackman) inspired a character in his latest book and as a childhood friend (Sandy Dennis, in an explosive performance) reveals her long buried resentment of Marian. And amidst her judgment of others, we learn that Marian's seemingly solid marriage to Ken (Ian Holm) isn't all it seem to be either.
Woody has constructed an uncompromising screenplay that is merciless on its heroine with flashes of fantasy and his direction is bold and evocative, producing some scenes of unbearable tension, the arrival of Ken's ex (Betty Buckley) at his engagement party defines awkward. As always with Woody's films, music is a key factor and this time it is comprised mostly of some really beautiful piano music that perfectly frames the story. Woody has crafted an emotional and economical character study that haunts during the closing credits.