Cassandra's Dream

Colin Farrell and Ewan MacGregor turn in stellar performances as brothers in "Cassandra's Dream," a stark tragedy which demands that its protagonists choose between loyalty to family and the right thing to do; and because of their respective failings, they become enmeshed in a net from which there is no escape.

It is clear that Woody Allen is not out to please the average movie-goer (nor should he necessarily), because throughout the film he alludes to Greek tragedy in general. By beginning slowly--perhaps a bit too slowly--and then tightening the screws of the plot, Allen takes his characters to the critical moment where they have a choice, and then, after a final twist when they pass the point-of-no-return, he begins to loosen his grip on the plot as the action unwinds to its logical, but ironic conclusion.

Allen also alludes specifically Aeschylus' "Oresteia"--the tragedy of murder within the family; blood-begetting-blood; and its resultant guilt and madness. The very title, "Cassandra's Dream," alludes to Aeschylus' drama; for in a state of madness, Cassandra--with the gift of prophecy that no one believes--foretells the murders that are about to take place within the house. In a similar manner, Allen's opening and closing camera shots that focus on the boat named "Cassandra's Dream," both foreshadow and look back on murder for which the viewer, like the Greek chorus, is unprepared.

This is not Allen's only subtle use of irony in the context of tragedy: In mid-film, when the aspiring actress, who is in love with one of the brothers, meets a serious theatre director, who confides that Euripides' "Medea" is his favorite tragedy, she betrays her lack of theatrical gravitas by replying that yes, Clytemnestra is her favorite character. Since Clytemnestra is not in "Medea" but in the "Oresteia," Allen indicates that she will likely not get the part and the opportunity which she so desperately craves.

"Cassandra's Dream" is a difficult film to watch, but then so is Aeschylus' "Oresteia," the only difference being that the latter tale of murder, set in ancient Argos, offers the theatre-goer the comfortable distance of some two-and-a-half millennia, while the former, set in modern-day London, is too close for comfort.

Very well acted and beautifully shot, "Cassandra's Dream" is certainly worth the time of anyone who enjoys a good drama. I particularly enjoyed Philip Glass' moody score and Colin Farrell's skillful turn as the guilt-ridden brother who can't live with the crime he and his sibling commit for monetary gain. Colin, by the way, is clearly the "good" brother here (or, at least, the less bad one), and only considers the crime because he needs to pay off loan sharks, not because he wants to make some easy money, which is closer to the motivation of the brother chillingly played by Ewan McGregor.

If there's a slight downside to the story, it's the predictability of the message: crime doesn't pay. Other Woody Allen movies have you walking out of the theater debating the actions and decisions of the central characters. In this one there's nothing to debate. Two brothers cross the line and everything soon spirals downward for them. Still absolutely worth seeing, just not a heck of a lot to talk about afterward.

The DVD features a print that looks absolutely wonderful, sharp with rich colors. I can't imagine that even a Blu-Ray version could look much better. Aside from a few previews, there are no extras on the DVD. But that's nothing new for Woody, who likes his movies to speak for themselves.

How Woody Allen ever got 2 of HollyWood's finest actors Ewan M & Colin F to be in another one of his boooorring movies Cassandra's Dream is beyond one's imagination. Since Ewan and Colin are originally from overseas no one told them that Allen's directing days died decades ago. It was actually once meant a big deal if Allen picked you for one of his films. Now all his films are known as "BOX OFFICE POISON HITS" made for his ever dwindling followers. Bad Movie Woody, please retire and do not try to destroy any more actors' careers.

I love Woody Allen movies. I am perhaps one of the few that does with the exception of the main stream world of critics who fawn all over any and everything he does. Such is the case with this film that many have found wonderful.

The story takes place in Britain and revolves around two brothers. Ian (Ewan McGregor) is a young man who wants better for himself. At present he is stuck running his father's restaurant while his father recovers. His sights are set higher than this though, planning with a new friend to invest money in a real estate deal in California.

Terry (Collin Farrell) on the other hand is content with life in his home town. Always on the lookout for more money, Terry has a severe gambling problem. When he wins, he wins big, but then he turns around and sends it all back as well as more than he can afford to pay back.

The brothers work hard and do their best, always wishing for better. When both find themselves in need of substantial cash, their prayers are answered with the arrival of their uncle Howard (Tom Wilkinson). Howard is a success, having made tons of money in the states as a doctor. They know he can afford to help them, the question is will he?

After a reunion at dinner, the boys get their chance alone with Howard. They put forth their question of cash and he replies with an offer for them. It seems he has gotten himself into some trouble with his books and business practices and needs them to do him a favor in return for his giving them the money they need. He needs them to kill someone.

The movie revolves around this issue from there on out. The brothers, intensely loyal to one another, banter about the prospects of doing this deed but suffering from it morally. While Ian wants to go for it, Terry has doubts and concerns, mostly involving guilt. But go for it they do and afterwards nothing will ever be the same.

Reading what I've written, this actually sounds like a good movie. Too bad that it involves far too much dialogue and characters that for me seemed like cardboard cutouts as opposed to real people. The talking is nonstop and repeats the same things over and over and over again. This doesn't yield insight, it merely makes the clock continue ticking for a lengthier film. Also, the fact that two brothers raised together could have such differing viewpoints on life and guilt rang false with me.

Worst of all was I never found myself caring for either of these brothers. One seemed a ruthless enough that he thought only of himself. The other was a milquetoast who whimpered about too much and took no responsibility for his own actions. To feel no sympathy for either made this film more an endurance than a pleasure to watch.

In Woody Allen's film STARDUST MEMORIES he had aliens show up on Earth wanting to speak with his character, a film director. The film was somewhat auto-biographical in this case. The main thing that the aliens wanted him to know was that they didn't like his dramas. They thought he was better when he was funny. Amazing how I find myself agreeing with aliens, albeit fictional ones.

I would never miss a Woody Allen film. Or one with Colin Farrell or Ewan McGregor for that matter. Perhaps even more than Colin or Ewan, I'm a Tom Wilkinson fan (he's fabulous here, as a Fagan-uncle). I thoroughly enjoyed everyone - even the "minor" characters (especially the father and Ewan's self-centered actress-girlfriend). However, the film ended too abruptly, without finesse. It was so beautifully, artfully arranged (an Allen gift) with exquisite interiors, gardens, great clothes and cars, not to mention perfect visual directing, but by the end it was "You don't say?" Did Woody run out of film? I needed some lingering mystery, a character twist, or a cool Scotland Yard detective dueling with Wilkinson or the brother who turned out to be different from what we thought. The theme was obvious: greed and stupidity can get you in a whole lot of trouble. Sadly, it lacked a well-turned final act to bring it in as a great film. But I must say, Colin Farrell acquitted himself well as the dim brother with a conscience. My favorite line: "I don't want to kill anybody!" spoken like a scared little boy being put up to steal the cookies.