Magic in the Moonlight Review

Magic in the Moonlight Review

I have long rejected the notion that one’s own place in the world has no bearing on one’s enjoyment of media. In my view, someone’s current circumstance, beliefs or even general mood is just as important to their view of a specific piece of entertainment as the piece’s objective quality. It would be remiss to claim that someone in a long-term would not be predisposed to relate to, and thus enjoy, a film such as Before Midnight more than a bachelor in the mid-20s. This is the very reason we have concepts such as target audience and stereotypes. To deny that personal situation has any effect on consumption is, if nothing else, a falsehood. I say this, as a nominal “film critic”, because this fact is one that will either make or break your enjoyment of Magic in the Moonlight. To discuss this in the context of the film would be to reveal its biggest secret, so I would suggest seeing the film and deciding for yourself. I, personally, rather enjoyed it…

Woody Allen’s latest film details the adventure of Colin Firth’s jaded magician Stanley, who travels to Southern France to debunk beautiful spiritualist Sophie (the ever-engaging Emma Stone). Inevitably, they form a timid romantic attachment, despite seeming to be complete polar opposites. Allen is aided by a game cast, with Firth in particular hinting at complexities not found in a surprisingly stilted screenplay. Hamish Linklater manages to scrape some dignity from a role that literally boils down to “play the ukulele and sing badly”. Marcia Harden stays just the right side of idiotic as the impossibly naïve Mrs Baker. The film, however, belongs to Eileen Atkins as Stanley’s wearied Aunt Vanessa. Her warm smile and comforting voice serves as a perfect counter to Firth’s pessimistic and occasionally cruel Stanley.

Allen’s direction is enjoyably subdued, focusing on long takes and wide shots of the astoundingly beautiful French coast. His great work is occasionally marred by some truly awful editing choices. Editor Alice Lepselter apparently doesn’t understand that in a dialogue scene, each character should seem like they’re in the same place as the other. Repetitive shot-reverse-shot exchanges are both distracting and emotionally distant. There are at least two instances in which the definition of the term “audio dubbing” is stretched to its very limits. Believe it or not, dialogue should match up with a character’s lips. Honestly, look it up. Interesting stuff…

The film is, if anything, tonally awkward. Allen can’t seem to decide if he’s making a fairy tale or a Mike Leigh movie. The message, whilst I certainly subscribe to it, comes far too late to really make an impact. The end-of-second-act twist is perhaps the single most jarring thematic shift I’ve ever seen.

If this sounds overly negative, I should stress that I did enjoy Magic in the Moonlight. The performances are excellent, the pace snappy and cinematography beautiful. Whilst a mismatched script and poor editing prevent this from being anything other than enjoyable fluff, sometimes enjoyable fluff is just what you need...

Five-Word Verdict: Woody, this isn't quite magic

Score: 3/5