Review: Woody Allen's latest, greatest breaks formula

His opening and closing credits are always in the same white typeface against a black background. He lists the cast in alphabetical order (most film credits list the cast in order of star power). Even if he’s not acting in the movie, there’s an unmistakable “Woody Allen” character. And he shoots his films in New York City.

When previews for “Match Point” first aired, I thought it looked like a great movie. When the voiceover announced, “A film by Woody Allen,” I was astonished.

Upon seeing “Match Point,” had I not already known Allen had written and directed the work (and had I missed the opening credits which are as noted above) I would never have guessed. This is not only the best film he’s done in many years, it’s also his furthest departure from formula. The movie is released by the giant DreamWorks, there is no “Woody Allen” character to be found, and, most shockingly, Allen shot the film in England rather than New York.

While most people think of him as basically a comedic director, Allen has done many films – from “Manhattan” to “Hannah and Her Sisters” to “Crimes and Misdemeanors” – that have serious undertones. Outside of “Interiors” and “Stardust Memories” – films that didn’t fare well with a lot of critics and fans – “Match Point” is Allen’s most serious work. It has funny moments to be sure, but like “Crimes and Misdemeanors,” a number of chilling existential questions are posed throughout.

The main character, Chris Wilton, is an unabashed social climber who, in every ensuing scene, proves himself morally bankrupt.

Wilton is a former professional tennis player who now gives lessons. He befriends Tom Hewitt, one of his clients. Tom happens to be from a wealthy and prominent family, which suits Chris just fine.

Chris meets Tom’s family: Mr. Hewitt owns a large business, Mrs. Hewitt seems to mainly hang around a drink and Tom’s sister, Chloe, is a sweet girl looking to get married and have babies. Chris and Chloe get engaged, and Chris gets a cushy job at Dad’s company.

The other part of the mix comes in the form of Nola Rice. She’s a young American actress who, despite mom’s belief that Nola is far beneath the Hewitt family in social status, is Tom’s girlfriend.

Chris falls in love with Nola. He marries Chloe, however. He needs the cushy job.

When Nola and Tom split up, she returns to the States but is soon back in London. Chris spies her one day, and they begin a torrid affair. Chris says he will leave Chloe. The viewer knows he won’t.

In an ironic plot twist – Chloe WANTS to get pregnant and can’t – Nola finds she is going to have Chris’ baby. With this looming, she demands that Chris break the news to everyone and get a divorce.

The noose slowly tightens around Chris, and the third act of “Match Point” – while similar to circumstances in “Crimes and Misdemeanors” – is as chilling as anything Allen has ever committed to film. The choices Chris makes to ensure his survival are ones that only a person with very little conscience could ever make.

By the end, I was a bit disappointed that the character didn’t seem to get his comeuppance, but it slowly sank in: This man will have to live with himself. That may be a fate worse than jail or even death.

“Match Point” is a masterpiece, and even if you are a viewer who has tired of (or never cared for) Woody Allen’s schtick, you must give it a chance. The thoughts it provokes will haunt you for quite some time.

Jim Wunderle owns Wunderle Sound Services and is a Springfield free-lance writer and musician. He can be reached at www.wunderlesound.com or info@wunderlesound.com