Cassandra's Dream

No doubt hoping to recapture the success of his 2005 thriller MATCH POINT, legendary writer/director Woody Allen returns with CASSANDRA’S DREAM, a family thriller that is slight but manages to be entertaining if one is willing to accept several lapses in common sense or reason. It doesn’t rank with Allen’s best by any means, but thanks to some intriguing performances, the film manages to stay just barely on the good side of melodramatic.

Two working class London brothers Ian and Terry (Scottish Ewan McGregor and Irish Colin Farrell) have just found the sailboat of their dreams. Thanks to a prolonged stroke of luck at cards and at the dogtrack, Terry is able to secure the money and “Cassandra’s Dream” becomes theirs. Both brothers are barely able to survive financially; Terry works as a mechanic when not betting or drinking and Ian finds himself arranging numerous business ventures while keeping an eye on his father’s failing restaurant. Both are constantly reminded of what could be when they talk about their Uncle Howard (Tom Wilkinson), an extremely successful plastic surgeon. But soon Terry’s gambling catches up with them and Ian is caught up with a beautiful young actress (newcomer Hayley Atwell), and both are in desperate need of money. Uncle Howard will solve all their financial problems, if they do a favor for him in return. He’s come under investigation, and some old partners of his need taking care of.

Much like MATCH POINT, there is a crime involved and the psychological complications that result. But where the inadequacies in planning and production of the act were tantalizing in the former film, here they just feel like carelessness. Even the set-up of the plot has glaringly obvious complications. But if the viewer is willing to accept these faults, the film becomes much more enjoyable. After all, the point of the film appears to be irony (the word itself is muttered many times), maybe it’s all part of Allen’s master plan. Indeed, so many integral plot points veer between laziness in writing and execution and apparent intentional stupidity. Yet as the film winds down to its close, it becomes more focused on family (the other big point of the film) and it is all the better for it. The final sequence, though plagued by a disappointing “tell-don’t-show” epilogue, is the most suspenseful part of the film by far.

There are some very intriguing aspects to the film, things one might not find in a Woody Allen. Most noticeable is its original score by Philip Glass, a rarity for an Allen film. The score adds a great deal of suspense to the proceedings, and ranks among Glass’s finest compositions for the screen. And for once, no one takes on the “Woody Allen” role- there are no comically neurotic characters stuttering over every word. Unfortunately, this leads to a parade of endlessly serious people, so the absence of the wannabe neurotic is a mixed blessing. Allen’s once unmatchable dialogue also sputters and falters here; this may be the only film you see this year where two adults describe having sex as “doing it”. But the film is performed admirably on all counts, minus Colin Farrell’s tendency to overact (only when he is speaking, of course). Most intriguing are the film’s lead actresses, newcomer Atwell and the charming Sally Hawkins as Terry’s girlfriend. Both are relegated to strictly supporting roles and are sadly two-dimensional. Yet they craft the most complex portrayals, and the viewer often longs for their appearance.

Allen still appears to be riding on his newfound wave of creativity that began with MATCH POINT. Though it is far from perfect, compare CASSANDRA’S DREAM to CURSE OF THE JADE SCORPION or ANYTHING ELSE and you’ll find a world of difference. It’s an entertaining little thriller, one that could definitely have used some improvements, but is fine enough as it is. This type of story has been told before, likely more effectively. Yet for Allen’s fans, there’s always something special to find.

**/****