EVERYONE SAYS I LOVE YOU (1996)
Reviewed by Jerry Saravia
Of all of Woody Allen's movies, his latest work, "Everyone Says I Love You," is
his most typical and, paradoxically, his most atypical. It is modern-day New
York mixed with the typical romanticized love story parallels and heartaches.
There's one crucial difference, the cast members break out singing different
songs and ballads from the 30's and 40's at the most inappropriate times.
Allen's hybrid of musical and romantic comedy is not a complete success, but
who cares? It is so funny that you'll forget and forgive its faults.
his most typical and, paradoxically, his most atypical. It is modern-day New
York mixed with the typical romanticized love story parallels and heartaches.
There's one crucial difference, the cast members break out singing different
songs and ballads from the 30's and 40's at the most inappropriate times.
Allen's hybrid of musical and romantic comedy is not a complete success, but
who cares? It is so funny that you'll forget and forgive its faults.
Woody Allen stars as Joe, a writer living in Paris who constantly migrates to
New York to visit his daughter, DJ (Natasha Lyonne), and his ex-wife (Goldie
Hawn). DJ lives with her mother and her stepfather (Alan Alda), along with some
half siblings, on Manhattan's Upper East Side. Joe is a lonely guy (a typical
Woody egoist) until he meets the woman of his dreams in Venice (she's played by
the luminous Julia Roberts). DJ is visiting her father at the time and
instantly recognizes her - she's a psychiatric patient of her mother's. When
Joe realizes he shares no common interests with her, DJ feeds him all the
details of her life by eavesdropping on her psychiatric sessions.
New York to visit his daughter, DJ (Natasha Lyonne), and his ex-wife (Goldie
Hawn). DJ lives with her mother and her stepfather (Alan Alda), along with some
half siblings, on Manhattan's Upper East Side. Joe is a lonely guy (a typical
Woody egoist) until he meets the woman of his dreams in Venice (she's played by
the luminous Julia Roberts). DJ is visiting her father at the time and
instantly recognizes her - she's a psychiatric patient of her mother's. When
Joe realizes he shares no common interests with her, DJ feeds him all the
details of her life by eavesdropping on her psychiatric sessions.
Another major subplot in the film involves Holden (Edward Norton) who is
engaged to Skylar (Drew Barrymore), one of the offspring of the East Side
family clan. He wants to propose to her in a restaurant, and proceeds to give
her the engagement ring which he hides in a custard pie. Skylar takes a bite of
the pie, and what occurs thereafter is one of the most laugh-out loud moments
I've experienced in the movies in quite a while.
As a movie, "Everyone Says I Love You" is heavily disorganized and messy but
never boring or uninspired. The deftly funny musical numbers are what gives
Woody's oft-told tale of romance and neurosis an added texture of wit. And yes,
all the cast members sing and they sing badly but who cares? This is a comedy
musical that makes a mockery of the musical form by having everyone burst into
song at the most inappropriate moments. It's not meant to be "West Side Story."
One of the highlights is Edward Norton (clearly the best singer in the cast)
crooning "Just You, Just Me" at the start of the film, or when he's shopping
for Skylar's engagement ring and sings "My Baby Just Cares For Me." Less
effective (and downright embarrassing) is Woody Allen mumbling the words to
"I'm Thru With Love" (he thankfully cuts the singing short). Two of the most
side-splitting numbers are: "Makin' Whoopee," a production number performed by
hospital doctors and patients with crutches, and "Enjoy Yourself (It's Later
Than You Think)" which is sung by ghosts in a funeral home (When was the last
time you saw ghosts singing a tune?) The true comic highlight is the
effervescent Goldie Hawn doing a flying duet with Woody reprising "I'm Thru
With Love" - it is the one number that shows the absurdity in the charming,
romantic silliness of those early 30's and 40's musicals.
never boring or uninspired. The deftly funny musical numbers are what gives
Woody's oft-told tale of romance and neurosis an added texture of wit. And yes,
all the cast members sing and they sing badly but who cares? This is a comedy
musical that makes a mockery of the musical form by having everyone burst into
song at the most inappropriate moments. It's not meant to be "West Side Story."
One of the highlights is Edward Norton (clearly the best singer in the cast)
crooning "Just You, Just Me" at the start of the film, or when he's shopping
for Skylar's engagement ring and sings "My Baby Just Cares For Me." Less
effective (and downright embarrassing) is Woody Allen mumbling the words to
"I'm Thru With Love" (he thankfully cuts the singing short). Two of the most
side-splitting numbers are: "Makin' Whoopee," a production number performed by
hospital doctors and patients with crutches, and "Enjoy Yourself (It's Later
Than You Think)" which is sung by ghosts in a funeral home (When was the last
time you saw ghosts singing a tune?) The true comic highlight is the
effervescent Goldie Hawn doing a flying duet with Woody reprising "I'm Thru
With Love" - it is the one number that shows the absurdity in the charming,
romantic silliness of those early 30's and 40's musicals.
Beyond the sheer comic inventiveness of the musical strategy, "Everyone Says I
Love You" is too thinly plotted and structured for my taste. The notion of
having the irritating DJ serve as the narrator is dubious and tiresome at best.
It should have been Woody narrating (as he did memorably in "Annie Hall" and
"Radio Days") - he can deliver dialogue with delectable comic timing and
energy. Some characters drift in and out of focus so quickly, you'll be hard
pressed to figure out their purpose. There's too little of Edward Norton and
Woody Allen, and too much of Drew Barrymore unconvincingly smiling and flirting
with Tim Roth, who plays an unrefined criminal.
Love You" is too thinly plotted and structured for my taste. The notion of
having the irritating DJ serve as the narrator is dubious and tiresome at best.
It should have been Woody narrating (as he did memorably in "Annie Hall" and
"Radio Days") - he can deliver dialogue with delectable comic timing and
energy. Some characters drift in and out of focus so quickly, you'll be hard
pressed to figure out their purpose. There's too little of Edward Norton and
Woody Allen, and too much of Drew Barrymore unconvincingly smiling and flirting
with Tim Roth, who plays an unrefined criminal.
On the whole, the performances are terrific, and I especially enjoyed the
Woodman's relationship with Julia Roberts (she shines more brightly here than
ever before). I also liked the fast-talking Alan Alda and the sprightly Goldie
Hawn in the best and shrewdest role of her career. And let's not exclude the
siblings of the East Side clan, including Natalie Portman who has a sobbing
fit and hilariously starts singing, and the wide-eyed Lukas Haas as the
dogmatic Republican son of the family ('The American people should have a right
to bear arms'). "Everyone Says I Love You" is one of the most endearing
of the experimental films of Woody's career. At the ripe old age of 61, he is
still the funniest and most original comic writer of the 20th century. Nobody
else could have tackled a concoction like this, and make it work. Or make it as
funny and strangely moving.
Woodman's relationship with Julia Roberts (she shines more brightly here than
ever before). I also liked the fast-talking Alan Alda and the sprightly Goldie
Hawn in the best and shrewdest role of her career. And let's not exclude the
siblings of the East Side clan, including Natalie Portman who has a sobbing
fit and hilariously starts singing, and the wide-eyed Lukas Haas as the
dogmatic Republican son of the family ('The American people should have a right
to bear arms'). "Everyone Says I Love You" is one of the most endearing
of the experimental films of Woody's career. At the ripe old age of 61, he is
still the funniest and most original comic writer of the 20th century. Nobody
else could have tackled a concoction like this, and make it work. Or make it as
funny and strangely moving.
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