Four tales involving an American architect on holidays, a young provincial couple, a Roman pseudo celeb and a first meeting between an elderly American couple and their daughter’s boyfriend unfold in the Italian capital, creating a kaleidoscope of human lives that mixes comedy and romance.
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The familiarity of Allen's rate of production is a firmly established cinematic comfort blanket and
whilst this isn't the strongest of his European jaunts, it's a light and frothy affair with a number
of successful gags and strong performances as his magnetic force continues to attract the best actors. Woody handles his four stranded narrative well and whilst no strand is particularly detailed...
Laughed quite a lot through this film. The plot was complex in that had so many independent stories to keep track of. There was some nice deconstruction of various bits of modern culture. You can tell Woody Allen is just making films for himself at this point and though occasionally a film falls on its face, for the most part he's doing quite well artistically.
When in Rome, do as the Romans do. In this case, Woody Allen brings the tourist perspective of the city adding some awkwardly-in-love couples to make a nice postcard. Rome is beautiful but this movie could have shown a little more love for it.
Could have benefited from less characters and more cohesive story-telling. I.E. The scenes with Benigni's character suffering through fame are funny and well taken but as a whole don't really appear to fit in the film.But for every review I heard about this film it still managed to be better than my expectations. All in all, Allen is still a filmmaker I enjoy & Rome is no exception.
Everything you didn't need to know about Rome... Frothy portmanteau of skittish sketches which veer from middling to dull. The return of Allen to acting is the minor highspot (in probably the best of the four stories) in an otherwise anodyne diversion.
If we've been grading Woody Allen on a curve for years, TRwL initiates a period in which we're just indulging him shamelessly--actors, critics, audiences, all of us. And why not? Woody seems to know it himself--the Benigni sub-plot is, like much of this film, a lesser rehash of earlier work, but it's also, maybe, an acknowledgement that he's running on fame's fumes now. Better embarrassment than retirement.