Review by Arran Munro
We first meet Bobby Dorfman, (Jesse Eisenberg) the central character of Café Society, in 1930s New York, the youngest of a lower middle class Jewish family. He is, as many of the director’s male protagonists are, the typical “Woody Allen character”.
Dissatisfied with his impending future – either as an accomplice of his brother, Ben Dorfman (Corey Stoll) or a jeweller, like his father, Marty Dofman (Ken Stott) – Bobby becomes an assistant to an immensely successful and busy talent agent in Hollywood. This job is acquired by his mother, the sister of the talent agent Phil Stern, played well by Steve Carell.
Initially both mentally and physically a little lost and neglected, Bobby soon befriends assistant of Phil, “Vonnie” (Veronica) Sybil (Kristen Stewart). Enamoured by Vonnie, he begins to enjoy the new neighbourhood. However, in an utterly surprising turn of events it is revealed that she has a boyfriend. Unbeknownst to him, this mysterious partner is in fact, Phil.
Both praising and scrutinising multiple faucets of life, this film shows keen observation from Allen and is a great portrayal of the evolving desires of the young and the intoxicating glamour and vanity of fame and success.
Bobby’s humble wish to remain genuine and unjaded by the word around him is ultimately shown to be rather unrealistic, thus exploring very important life-truths, despite the film’s superficial gloss.
This light-hearted, dramedy/ romance is not up there with Annie Hall (1997), Blue Jasmine (2013) or even Match Point (2005). However, it is definitely on form in terms of Woody Allen films, and judging by the audience’s copious amounts of laughter in the cinema, a very enjoyable watch.
The lavish and surprisingly adoring cinematography of both Hollywood and New York by Vittorio Storaro is impressive and compliments the theme of superficiality and the glitz and glam of both cities well. The performances are also notable with each well cast in their respective roles. Notably, Eisenberg plays the Woody Allen character extremely well; Stewart also provides a good performance as a young, fickle woman caught up by the opulence of Phil’s life; and Carell matches this with his charisma and unapologetic humour, adding a unexpectedly nice touch to Café Society.
FURTHER COMMENTS
Arran: Narra?
Narra: It’s a good film but I can’t say it stuck with me too well. It was one of Allen’s works where I left feeling happy but in terms of having a thought-provoking theme or message, this was a little lacking for me. Also, if you’re familiar with Allen’s work then this really comes as no surprise in terms of any of its plot points or dialogue.
Arran: In a sense, yes. But, I do think that it has ironically, adapted to the modern world. The cinematography is extremely on point and the message is still important. And I know I said it was light-hearted before but I don’t think it was that pithy. I know a lot of reviewers and viewers alike have claimed that it is generally a light watch but I think it has an added depth that really taps into how people eat up success and wealth.
Narra: I guess, if it was done better, it definitely could have been like that.
Arran: What are you talking about? It is done well. The ending as well, you can’t say that wasn’t provocative.
Narra: I think I can, actually. It’s been done before, that sort of unresolved conclusion and especially by Allen.
Arran: Hm. I guess. I liked it. Anyway, what are you giving it?
Narra: Two and a half stars.
Arran: Really? That’s it? I’m giving it four. I would and will watch this again.