Product Description

Two alternating stories about Melinda's attempts to straighten out her life.

Product Details

• Amazon Sales Rank: #16087 in DVD
• Released on: 2005-10-25
• Rating: PG-13 (Parental Guidance Suggested)
• Aspect ratio: 1.33:1
• Formats: Closed-captioned, Color, Dolby, Dubbed, DVD, Full Screen, Subtitled, Widescreen, NTSC
• Original language: English
• Subtitled in: English, Spanish
• Dubbed in: English, French
• Number of discs: 1
• Running time: 99 minutes

Amazon.com
In Melinda and Melinda, Will Ferrell does a fine job playing Woody Allen--or at any rate, playing the fumbling, neurotic, lascivious character who appears in almost every Woody Allen movie (and is usually played by Allen himself). Hobie (Ferrell, Elf) is an unemployed actor who has fallen helplessly in love with Melinda (Radha Mitchell, High Art)--or at least with one version of Melinda, because Hobie's comic story runs parallel with a more serious version of the same plot, in which Melinda falls in love with a composer (Chiwetel Ejiofor, Dirty Pretty Things). Melinda and Melinda is intended to be a sort of showdown between a comic and a tragic view of the world, but the comic story isn't all that funny and the tragic story isn't all that sad. You're more likely to feel annoyed by these characters than sympathetic to them, as they act more like Martians than New Yorkers; their responses and attitudes aren't exactly dated or implausible, they're mostly incomprehensible. The movie is still a step up from Anything Else, Allen's last effort; there are a handful of genuinely funny moments, Chloe Sevigny (as one of Melinda's best friends) and Mitchell are particularly good, and the turns of the two-fold plot--regardless of its genre--are engaging. However, these virtues will be best appreciated by those who are already Allen fans. --Bret Fetzer

From The New Yorker
At dinner with friends in a Greenwich Village restaurant, two playwrights, one tragic (Larry Pine), one comic (Wallace Shawn), offer alternate versions of the same story: Melinda (Radha Mitchell), a distraught young woman, shows up, unannounced, at a dinner party held by old friends and intrudes upon their lives. The dramatic framework of Woody Allen's new movie is ambitious, but an odd sort of indifference or blindness seems to have overcome him during production. Mitchell is surrounded by different actors in each version, but it's surprisingly hard to tell the two stories apart. The general atmosphere of both stories and even some of the characters are very similar: both are set in Woodyland, that familiar elegant fantasy version of Manhattan, impeccably furnished, with no brightness, no neon, no pop culture anywhere, and the characters are largely a nattering, trivial, shallowly self-serving bunch. Mitchell is a fine young actress, but Allen pushes her so far into the fidgets that one rather dreads her next appearance. One leaves with such sour thoughts as, The inability to pull oneself together is neither tragic nor comic; it's just a waste of energy. With Will Ferrell, Amanda Peet, Jonny Lee Miller, and Chloë Sevigny. -David Denby
Copyright © 2006 The New Yorker

Customer Reviews

an inventive reworking of familiar Woody Allen themes
For those familiar with Woody Allen's films there is nothing radically new here; but it is a refreshingly novel approach to his familiar obsessions for fans, as well as a nice introduction for newcomers. The central conceit of the film -- that the "same" story can be told quite differently from the point of view of tragedy and of comedy -- works as a clever reminder and allusion to films like Rashomon (in which the narration of events is shown to be inseparable from the values and perspectives of the narrator) but also as an intriguing reflection on Allen's own body of work that for some time was alternating between slapstick comedy and Bergmanesque drama. His best films, like Hannah and Her Sisters and Manhattan and Crimes and Misdemeanors have alternated between a tragic core and a comic and usually hilarious undercurrent. Here Woody Allen has opted for a separation between these, and told the whole story both ways at once. As a thought experiment it is a very intriguing idea, and as a set of stories it is fairly effective though not quite as effective as some of his very best work. One very nice touch was to have the theoretical discussions about tragedy and comedy that form the backdrop of his story take place at a dinner conversation, with Wallace Shawn as one of the central figures. In this way, the discussions, which are only partially effective, can work as a modest parody (or homage?) of "conversation" films like "My Dinner with Andre" that starred Wallace Shawn. Will Ferrell does a great reworking of the traditionally insecure and neurotic character that Woody Allen plays; and Radha Mitchell gives a brilliant dual performance as Melinda and Melinda. Overall the film was quite intriguing and enjoyable; it was only disappointing to this viewer when compared with some of the best of Allen's films.

Come on People
It has been a while since I have wrote a review for Amazon, the only thing that could move me to do so is the hypocritical bad reviews for this film. Woody Allen is one of the last genuis directors we have. Everyone uses a seperate standard to judge his films. If this film were made by anyone else, then everyone would rave about it. This is the best film you will see this year, if you like artistic films. But some people feel this is "not up to Woody's standards." More about that later.
The film is, in its concept, more daring than 99% of the crap you will see this year, last year, or next year. Is the world comic or tragic, the film asks (in a world where films usually ask: how many explosions can I create).
Woody then gives us an interesting comic tale, and an interesting tragic tale, both well shot, well directed, and well acted. Let me repeat: both of these are IN THE SAME FILM! Woody constantly re-invents himself in an intelligent way.
The comic tale is indeed FUNNY, and intellectually so. Will Ferrell is perfect and perfectually directed to play his role, and we are not given the easy, expected storyline, but one that keeps us paying attention. In the tragic role I challenge reviewers to find a more emotional scene than the final one of Melinda's breakdown.
Antything Else was wonderful: a film with teen stars Jason Biggs and Christina Ricci in which the director gets an artistic performance out of both, a film in which intelligent TALKING, not car chases and fart scenes, dominate. But Melinda and Melinda is willing to be a pure concept film, but one in which each story is told with loving care and attention to the details of each characters humanity, capturing the magic of Woody's past films like Manhattan, Annie Hall, or Deconstructing Harry. Rent or buy it! This is our generation's Hemingway, Da Vinci, etc.

A Tale of Two Melindas
It's strange that Amazon.Com doesn't offer Woody Allen's Melinda and Melinda as I just saw it on DVD yesterday. That actually fits well into the film's theme - the existence of two parallel universes; For some, life is a comedy, for others, a tragedy.

A discussion between two writers as to whether life is a tragedy or a comedy ends with two radical reinterpretation of what is basically the same situation. In both, the distraught Melinda (Radha Mitchell, playing a neurotic female Woody Allen type) crashes an important dinner party, and spins the previously ordinary lives of the guests into mayhem. In both tales Melinda is part in a love triangle or two, and in both there is a suicide attempt.

Other than that, the stories couldn't have been more different. The 'tragic' Melinda is a suicidal divorcee, with two children she has no access to and a secret past, who comes to entangle the marriage life of her childhood friend Laurel (Chloe Sevigny). The 'comic' Melinda is the whacko neighbor of Hobie (Will Farrell) and his wife Susan (Amanda Peet), who reawakens both of their love life, albeit not to each other.

Melinda and Melinda is among the best of Allen's recent work. The 'Comic Melinda' reminds you of his recent stuff, and is as funny as 'Hollywood Ending'; the tragic story, although not flashed out enough, recalls Allen's classics "Annie Hall" and "Hannah and her sisters".

Ultimately, Allen refuses to offer us his own answer about whether life is a comedy or a tragedy. But the tale of two Melindas is neither a comedy nor a tragedy; it's simply a good movie.