Do magic and love exclude each other? Or maybe they are inseparable? Woody Allen, in his latest film presents those two powers, in his traditionally complicated way. Magic in the Moonlight for Allen’s long-time fan probably won’t be a big surprise (once again we found ourselves in charming 20s) or a discovery. However, it can be a nice comeback to similar stability, which is (thankfully) still present in his films.
Wei Ling Soo is one of the world’s famous magician, who amuses spectators all over the world with his incredible tricks. Undercover the look of a mysterious Asian, hides Colin Firth himself as Stanley Crawford. Firth obviously seems to tend to play offish and way too serious Englishmen ,without any emotions or sense of humor, not to mention life joy. Awhile not dressing Asianlike, Crawford fancy catching fake magicians, who are manipulating everyone around just to earn some money in such a sly way. The thing is, that our main character doesn’t believe in magical powers at all. More precisely – he doesn’t believe in anything immaterial, except for mind and logical thinking. This time he gets straightforwardly to the French Riviera, which is exactly where his next victim is.
Sophie Baker (lovely Emma Stone) has already swept not only some milionaire off his feet, (who lets her decide about his whole life, money and all the belongings now) but also the other people who attended her shows, seances or different presentations of her paranormal skills. When Crawford finally meets her, immediately wants to reveal the truth but… slowly starts wondering if magic isn’t real for sure. The more time he spends with Miss Baker , the more he doubts his main life values.
From that moment the plot is wonderfully predictable. Anyway, both music and costumes as well as scenography are so Allenlike that we can forgive him all the imperfections in a second. Or maybe we don’t have to forgive him at all? Combination of swinging 20s and French Riviera puts us in the middle of the great feast, and ensures that we won’t come back home hungry. Allen is the expert in his favourite monologues all the time. Dialogues, in which he analyses each stadiums of doubting, seem much autobiographical. Is this a view of almost 80 year old director who is slowly losing his believes?
„Magic in the Moonlight” is not too much revolutionary for sure. Although, it has its place in the collections of typical Allen films – seems exactly like standard, it’s difficult to call it badly. It is a romantic comedy. So what? I can watch films like this in Allen version forever. What more, i find it’s lack of shocking or surprises as something heart warming and woderfully familiar. Something what is definately worth spending my time.