Most Woody Allen movies are a little cynical about love. As if he’s aiming for his oeuvre to include a film at every point on the spectrum of how someone might feel about the topic, “Everyone Says I Love You” (1996) is decidedly positive.
It’s not treacly; this is after all an Allen film, and it does chronicle some obviously (and humorously) poor choices in romantic partners. And not everyone gets a “happily ever after.” Allen’s character, Joe, is a recognizable sad sack who thinks of suicide so much that he’s gotten creative about the specifics. But it’s all geared toward the end goal of celebrating the crazy little thing called love.
Breaking into song
The good vibe might not be obvious from Allen’s screenplay alone, because a lot of it comes from the sounds and sights. First of all, “Everyone” is a musical. Folks who dislike musicals need not fear; Allen uses the songs as side dishes to the narrative main course, similar to what “La La Land” would later do.
“Everyone Says I Love You” (1996)
Director: Woody Allen
Writer: Woody Allen
Stars: Woody Allen, Goldie Hawn, Julia Roberts
The songs are pre-existing, but each is rearranged (mostly by Allen staple Dick Hyman) and smartly chosen to fit with the theme being explored. The dance choreography is outstanding, even in long single takes. Among the best is a colorful hospital sequence set to “Makin’ Whoopee,” featuring patients in all states of injury and illness dancing with nurses.
Secondly, “Everyone” takes place (and is filmed in) three of Allen’s favorite cities: New York, Paris and Venice, all of which – not coincidentally – are cinematic. Lenser Carlo di Palma captures the beauty of each of the four seasons, capped by Joe and ex-wife/still-friend Steffi (Goldie Hawn) dancing on an otherwise empty riverwalk on Christmas Eve in Paris. This dance also features a rare instance of special-effects embellishment in an Allen film, adding to the magic even though it’s a tad clunky by today’s standards.
Talented cast
“Everyone” flows remarkably well considering not only that the songs are repurposed, but also that the cast is massive in both size and talent. It’s like a who’s who of well-known actors checking “a Woody Allen film” off their list. No one steals the show, which is a good thing in this case.
One old standby in the cast is Alan Alda, who in contrast to the masterpiece “Crimes and Misdemeanors” plays totally nice guy Bob (albeit again the man who has won a romantic competition with Allen, this time for Steffi).
But many others are not Allen regulars, including Drew Barrymore, Gaby Hoffmann, Natasha Lyonne, Edward Norton, Natalie Portman, Julia Roberts, Tim Roth and Billy Crudup.
Love at any age
Lyonne (“American Pie”) plays Joe’s daughter DJ from his marriage to Steffi. DJ has half-sisters in Lane (Hoffmann) and Laura (Portman, who had garnered raves for “The Professional” two years prior). Lyonne also narrates, giving teenage pseudo-gravitas to the various love stories.
A couple stories are indeed about teens. DJ quickly falls in and out of love several times, never too worked up by it. Meanwhile, Lane and Laura both pursue the same guy, which outside observers know will lead to heartbreak. They are too blinded by the hearts in their eyes to notice.
This is one thread I would’ve liked to be pulled on more. Portman does get one great scene though, when Laura is slammed by the grief of her first heartbreak. This happens amid another chaotic scene of Skylar (Barrymore, her usual adorable self) telling her folks she has chosen an ex-convict (Roth, appropriately creepy) over the tried-and-true Holden (Norton, in an unusually milquetoast role).
The romantic schemer
It’s amusing – but also a smart choice – to have DJ’s narration also comment on the adult love stories. Especially since Joe’s is ridiculous.
In a “Groundhog Day” riff, Joe successfully pursues Von (Roberts) only because he is armed with knowledge from Von’s psychiatry sessions, which DJ spies on. As with the darker Allen film “Another Woman,” an apartment is right next door to a psychiatrist’s office, allowing DJ and her sisters to overhear. The Allen-Roberts pairing makes me think “It’s good to be the director,” but there is some believability to it, since Joe essentially possesses Von’s psychiatry file.
“Everyone’s” yarns bob and weave nicely. All the stories have a touch of humor, but I have to admit this is one of those nice, pleasant comedies rather than a guffaw-fest. It hits on the heady feeling of first love on down to the bittersweetness of what might have been.
The (sometimes illogical) desires of the heart have made all of these characters’ lives exciting. Not every Allen film would come to the conclusion that loving someone is a worthwhile endeavor, or that it is a net positive. “Everyone Says I Love You,” while still noticeably an Allen film, lands more on the sunny side than the norm. In this one, it feels right that everyone breaks into song and dance.