Plot
When he discovers his adopted son is a genius, a New York sportswriter seeks out the boy's birth mother: a prostitute.
Release Year: 1995
Rating: 7.0/10 (18,812 voted)
Critic's Score: 59/100
Director:
Woody Allen
Stars: Woody Allen, Mira Sorvino, F. Murray Abraham
Storyline Lenny and Amanda have an adopted son Max who turns out to be brilliant. Lenny becomes obsessed with finding Max's real parents because he believes that they too must be brilliant. When he finds that Linda Ash is Max' real mother, Lenny is disappointed. Linda is a prostitute and porn star. On top of that, she is quite possibly the dumbest person Lenny has ever met. Interwoven is a Greek chorus linking the story with the story of Oedipus.
Cast: Woody Allen
-
Lenny
F. Murray Abraham
-
Leader
Helena Bonham Carter
-
Amanda
Donald Symington
-
Amanda's Father
Claire Bloom
-
Amanda's Mother
Olympia Dukakis
-
Jocasta
Michael Rapaport
-
Kevin
Mira Sorvino
-
Linda Ash
David Ogden Stiers
-
Laius
Jack Warden
-
Tiresias
Peter Weller
-
Jerry Bender
Rosemary Murphy
-
Adoption Coordinator
Steven Randazzo
-
Bud
J. Smith-Cameron
-
Bud's Wife
Jeffrey Kurland
-
Oedipus
Taglines:
The new comedy from Woody Allen
Release Date: 11 January 1996
Filming Locations: 5th Avenue, Manhattan, New York City, New York, USA
Box Office Details
Budget: $15,000,000
(estimated)
Gross: $6,700,000
(USA)
Technical Specs
Runtime:
Did You Know?
Trivia:
In the scene where the football practice is taking place, one of the players in shorts, T-shirt and a baseball cap is legendary 49ers quarterback Joe Montana.
Goofs:
Errors made by characters (possibly deliberate errors by the filmmakers):
Amanda tells Lenny that a day-old baby is available for adoption. Moments later, she tells him the baby was born that morning.
Quotes: Lenny Weinrib:
Achilles only had an Achilles heel, I have an entire Achilles body.
User Review
Mighty Aphrodite
Rating: 10/10
Hot on the high-heels of "Showgirls" comes Woody Allen's latest film,
"Mighty Aphrodite," named after the Greek goddess of love, another
American
film trying to interrogate the questionable mentality and dubious
spirituality of the skin trade. A lot will probably be made of the fact
that, not satisfied with merely pointing out classical references in his
text, Allen decided to have a whole Greek Chorus (consisting of F. Murray
Abraham, Olympia Dukakis, David Ogden Stiers and Jack Warden) filmed in an
ancient outdoor amphitheater in Taormina, Italy (wearing masks, no less,
in
a nod to classical authenticity) and genuflect on the alter of genuine
myth
to underscore the tragic and comedic parts of his film. It doesn't matter
how well- versed you are in the Greeks, you'll be able to enjoy what Allen
has done with his approach, which is a very refreshing idea for film
(bringing it all back home) and also a great surreal scaffold for the
situation he presents. Purists be warned.
Allen (Now 60 years old, but trying to play his role like he's not a day
over 40) and Helena Bonham- Carter (29 years old) are happily married when
one day Bonham-Carter's biological clock goes off and she wants to have a
baby immediately. Allen hesitates so much at the thought of pregnancy that
Bonham- Carter, who really can't wait, says, "fine, let's adopt, then,"
which of course hits the raw nerve of Allen's masculinity as he defends
his
genes against the idea of having someone else's child join their
family.
Allen's character in this film is a sportswriter, adding another "tough"
layer to his never-ending quiche of a meditation/angst-ridden search for
definitive masculinity. Every scene where Allen suffers some sort of
gender-related torment is set in a male arena: When he's fighting on the
phone with Bonham-Carter about the decision to adopt, the backdrop is a
boxing club with every ring filled with sparring partners. Another scene
where he contemplates his situation shows him pacing back and forth on the
sidelines watching the New York Giants scrimmage in the Meadowlands.
The couple finally decide to adopt a boy, and in one scene in particular I
realized just how much Allen is stuck in a zeitgeist rut. In their uptown
apartment Allen and Bonham-Carter bandy names back and forth for the new
little tike as Allen, forever the cultural namedropper, comes up with the
monikers of all of his heroes: Django, Groucho, Thelonius. Bonham-Carter
is
oblivious to his suggestions as she coddles the baby and suddenly you
realize that Allen should have made this film years ago, because the
conversation sounds like something that was written for what would have
been
the sequel to "Annie Hall." Now that he's twenty years removed from the
carefree days of dynamic dialogue with Diane Keaton and the spark she
brought as Allen's main female foil, Bonham-Carter seems unsure of
herself,
treating Allen as obligatorily as a father or uncle rather than her
husband.
Enter the plot.
Bonham-Carter is being chased by Peter Weller (48 years old), a
seductively
sleazy art gallery owner, which sends Allen's mid-life crisis into an
absolute tailspin as he begins wondering if he's really happy with his
wife,
and as he's looking at his newly adopted "son" he wonders aloud what the
mother of his adopted child is like. Enter Cassandra and...you get the
picture.
One of the things I realized while watching "Mighty Aphrodite" is that
Allen
has spent a good portion of his career in film flagellating himself for
not
being the American Ingmar Bergman, when all the time he should have been
luxuriating in the fact that he's the American Federico Fellini: He has an
uncanny sense for seeking out ripe minor actors, ready to be picked, and
then letting them find the aspect of the character they're playing that
makes them Characters rather than just parts played by actors. Even though
I
feel as if Bonham-Carter is not given nearly enough room to fully flesh
out
her character (which is a shame for an actress of her caliber), the film
is
really about Linda, the real mother of Allen and Bonham-Carter's adopted
child, who turns out to be a ditzy porn star overflowing with spunk and
zeal.
Linda, played by Mira Sorvino (Quiz Show, Barcelona), Paul Sorvino's
daughter, steals the film. Allen has tempted fate and defied the Greek
Chorus' warnings by seeking out Linda, but since she's in the skin trade
he
arranges to meet her at her apartment in the guise of being merely a
"john."
When Allen's reticence at wham-bam-thank-you-ma'am sex gets the better of
him, he finally shows the age and mindset that he really is and turns into
a
grandfather before your very eyes.
But, Linda is a ditz first and a hooker second in that she understands her
victimization but also begins to realize that her situation is only as
hopeless as her innate tenacity is boundless. In the most delicate scene
in
the film, and maybe the most poignant scene I've seen all year, Sorvino is
in her bathtub-sized kitchen trying to defend her life to Allen, and as
she
keeps talking she realizes her own complicity until she finally mentions
that she even had a baby once that she gave up for adoption. Allen gives
her
this scene by not entering the frame for what seems like a full minute.
The
direction in this scene alone, in Linda's chessily decorated flat complete
with clocks of pigs in heat, shows just how gifted Allen is at being able
to
take an obscure actress, give her a two-dimensional role and have her find
the heart and soul of the film on her own.
Leave it to Woody Allen to deliver a film that is fascinating on many
levels
and is as beautifully structured as anything you're likely to see all
year.
I don't believe it's Best Picture material, but it does show a very strong
return to form for Allen, no matter how unsure he is of reentering the war
between the sexes.
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