Movie Review - Irrational Man

Irrational Man **½ (out of 5) (R) As a Woody Allen fan dating back to his pre-movie stand-up days, I hope for the best from each new release. It’s always been hard to separate the man from his products. The obsessive, anxiety-ridden nerds he played in his early comedies seemed to match the real life of a guy who spent decades in psychoanalysis. More than 20 of his films co-starred his wives and lovers (notably, Louise Lasser, Diane Keaton and Mia Farrow). His last tabloid-fodder marriage links every new tale of romance with a younger woman to news and rumors about its writer/director.

In this romantic mystery, Joaquin Phoenix stars as a depressed, dissipated and usually drunk philosopher. Once considered a hip, rebellious wunderkind, he’s reduced to a summer of teaching at a small Northeastern college. His bad-boy allure contrasts starkly with the school’s cultivated cloistered culture, quickly drawing overtures from two women: a married colleague (Parker Posey) desperately yearning to scratch her “seven-year itch”; and a bright, adoring student (Emma Stone), whose devoted boyfriend suddenly seems hopelessly mundane.

Phoenix teaches on the fumes of his old intellect and reputation. Nothing seems to matter, including the desirable pair who are eager to jump his bones. A snippet of overheard conversation brings an epiphany - he’s been so bummed for so long because he’s only lived from the neck up, devoting his all to reading, analyzing and explaining other peoples’ ideas about the nature of man, meaning of life, etc. All chatter, no platter; all talk, no walk. He finally sees a chance to enter the “real world” and apply some principles to practice, doing something that could provide tangible, not just theoretical, benefits to others. The action of choice seems dubious to say the least, but discovering an unprecedented sense of purpose suddenly parts his clouds of despair.

As usual, Allen creates strong characters, especially among the featured actresses. His films have generated 14 Oscar nominations with five wins for women, compared to three nominations with one win for the gents. This ivy-covered campus and its environs warmly embrace his cast while providing counterpoint for the events that ensue. Familiar Allen themes abound, from interpretations of concepts from the usual gang of European philosophers, to the churning sets of emotions before and after achieving a goal by extreme measures with significant ramifications (Crimes and Misdemeanors, among others).

The screenplay is so heavy on esoteric musings and debates, some may tire of the talking. Be patient. The climax rewards its audience. At that point, the experience morphs into the cinematic equivalent of a classic “shaggy dog” story, with a payoff that easily justifies the lengthy setup preceding it. This won’t make anyone’s list of favorites among Allen’s nearly 50 films, but it should land in the plus column of his career wins-losses stats... for those keeping score at home. (7/31/15)

Side note - If you’re intrigued by the premise, but prefer something lighter, check your On Demand or TV listings for Hugh Grant’s latest romcom, Rewrite. He’s a Hollywood screenwriter, whose megahit start was followed by nothing but flops. Broke and blocked, the small-college teaching gig in upstate New York is his last resort. He also finds diversion prospects with an age-appropriate woman (Marisa Tomei) and a foxy fangirl student. Marc Lawrence’s dialog is crammed with the sort of wry jokes and throwaway lines that marked Grant’s early hits. The stark contrast in directions from two nearly identical setups might serve as a film-school essay assignment. Or discuss among yourselves.

Q&$