“Café Society” (2016), Woody Allen’s beautiful-looking ode to Old Hollywood, was overshadowed by “La La Land” a few months later. This is understandable, as “La La Land” is the more polished and magical picture, but there’s a lot to adore about “Café Society” too.
It gets slight demerits for riffing on previous Allen flicks, with an era reminiscent of “Radio Days,” combined with a love rectangle and an affection for Hollywood.
Happy (?) reunion
Plus, Allen reunites Jesse Eisenberg and Kristen Stewart from 2009’s “Adventureland,” which is about the pitter-patter heartbeat of first love in a way “Society” can’t quite replicate. Allen’s picture is more measured.
“Café Society” (2016)
Director: Woody Allen
Writer: Woody Allen
Stars: Jesse Eisenberg, Kristen Stewart, Steve Carell
But the actors’ chemistry is still there, with Stewart being effortlessly, naturally alluring as Vonnie and Eisenberg carefully crafting Bobby’s rise from sweet, awkward young man to confident business manager.
I like that no one in “Society” slides into the stereotype of a self-centered Hollywood jerk. Certainly – in contrast to Bobby’s extended Jewish family back in New York — they are totally disconnected from the Great Depression.
And Steve Carell’s mover-and-shaker Phil initially comes off as a horribly uninterested uncle to Bobby, but eventually he does help him get started in the industry.
Every major character is basically a decent person — except for Ben (Corey Stoll), Bobby’s hitman brother, but even he has his family’s back, at least. A cynic could say “Society” is another case of Woody using love as a shrugging argument for why dumping wonderful significant others is something that happens.
Love-struck by show biz
But he believably executes the portrayals. Various love-struck characters look rather sad even when they are deeply in love, because they know they have (or will have to) hurt another person in order to pursue their own path to happiness.
More broadly, Allen shows a love for show biz here — not a reluctant appreciation or love-hate mix like in “Broadway Danny Rose” or “Hollywood Ending.” I don’t know if Allen himself loves Hollywood this much, but “Society” (which includes a love letter as a key prop) comes off as a love letter to it just like “La La Land” does.
Allen’s plotting is sharp as people learn and dispatch information in a precise order that causes conflict for the characters and can’t-turn-away intrigue (along with chuckles) for the viewer. Eisenberg, Stewart, Carell, Blake Lively, Parker Posey, Stoll and several actors I’m less familiar with grab our attention when on screen.
The style sings
Still, it’s “Society’s” style that lingers. Cinematographer Vittorio Storaro beautifies New York and Hollywood in his first of four straight collaborations with Allen, whose narration begins with the assertion that 1930s parties on movie moguls’ pool decks really did look like Technicolor in certain lighting.
This isn’t a musical like “La La Land,” but it’s almost like Allen was anticipating comparisons to Damien Chazelle’s film. In addition to his usual swinging blues selections, he brings in Kat Edmonson as a stage singer performing “Mountain Greenery” and “Jeepers Creepers.” And Bobby and Vonnie riff about jazz records.
To close with a music metaphor, Allen does an expert remix of his old works in “Café Society.”