CAFÉ SOCIETY is the kind of film that I might see, and moderately enjoy, and quickly forget. But this is not the case. The reason is that it is written and directed by Woody Allen. And Woody Allen’s films, whether they are classics or embarrassments or anything in between, always stick in my gut.
The reason is that Woody Allen is many things to me. At his very best, this Brooklyn-born dyed-in-the-wool Manhattanite is funny and clever in the best New York Jewish tradition. Beyond their smart, laugh-out-loud one-liners, the films of Woody Allen offer heartfelt viewpoints on an individual’s seemingly eternal quest for love, for finding and maintaining a relationship that will not be over barely after it begins. So I find myself pondering each of his films days and weeks and even years after seeing them.
Now admittedly, in recent times, most but not all of Woody Allen’s films have been mediocre. A major exception is of course BLUE JASMINE, which dates from 2013. But his most laudable films-- ANNIE HALL, MANHATTAN, HANNAH AND HER SISTERS, and CRIMES AND MISDEMEANORS, among others-- were made decades ago, when Woody Allen was in peak form.
To be sure, CAFÉ SOCIETY is not third-rate. As most Woody Allen films, it features a top cast; to this day, the best and most desired stars willingly accept roles in his films. And CAFÉ SOCIETY is no exception. A trio of its leading actors are perfectly cast and offer crafty, eye-opening performances. They are Jesse Eisenberg, Kristen Stewart, and Steve Carell.
The CAFÉ SOCIETY scenario opens in Hollywood in the late 1930s. The central character is Bobby, played by Eisenberg: a young New Yorker who is dispatched to Tinseltown in the hope of finding work with his uncle, Phil Stern, played by Carell. Bobby may be described as the “Woody Allen” character. In other words, decades ago, Woody himself would have played him. But Woody does have an on-screen presence here, as the film’s uncredited narrator.
Bobby’s Uncle Phil is a powerful Hollywood mogul who always has a deal in the works and who casually, endlessly name-drops some of the era’s premier movie stars. Stewart plays Vonnie, Phil’s secretary, with whom Bobby becomes smitten, and his feelings for her are what set the story in motion.
CAFÉ SOCIETY is, like quite a few of Woody Allen’s more recent films, a rehashing of subjects that for years have obsessed him. They include the passage of time and the manner in which peoples’ feelings change; the manner in which fate plays a role in the dissolution of relationships; the manner in which an individual may look back wistfully regarding the failure of that relationship; the deep feelings about one’s mortality; and life in New York contrasted to the superficiality and egotism of Hollywood. A Woody Allen aficionado will easily connect these subjects to the storylines in ANNIE HALL, CRIMES AND MISDEMEANORS, MANHATTAN, and, most notably, RADIO DAYS.
But there are serious flaws in CAFÉ SOCIETY. For one thing, Bobby’s brother is a gangster and the scenes involving his lawbreaking not only are pointless but seem as if they are outtakes from a completely different film. Still, CAFÉ SOCIETY does feature some Woody Allen gems. One is a bit of dialogue that exudes a truthfulness that might be found in an earlier film but is most appropriate here, given that Woody Allen is now 80 years old. To paraphrase one of his characters: Live every day as if it’s your last because, someday, you’ll be right!
Rob Edelman has authored or edited several dozen books on film, television, and baseball. He has taught film history courses at several universities and his writing has appeared in many newspapers, magazines, and journals. His frequent collaborator is his wife, fellow WAMC film commentator Audrey Kupferberg.
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