Everyone Says I Love You Reviews
Given Woody did this musical within his year timeframe - it's still impressive, a simple lighthearted romance with little depth, actors of note from past and even present are here to again shine, musical set pieces range from decent to medicore with a STUNNING final but short riverside waltz with goldie hawn - a clear masterpiece on its own - overall its good but can't help but wishing woody had 2 or 3 years to prepare this properly as it has the potential of a timeless classic but as it is now, we can see Woody just dabbling in the idea and coming up with something fun and fancy free... people love it more but it also hasn't aged as well as other alike musicals - and usually a musical has a timeless quality to it - good for what it is without a doubt
--- M. rick has spoken.
It makes use of a superb ensemble cast, putting most of its attention onto the fictional Dandridge family, a wealthy New York based bunch liberal and free-wheeling in their beliefs. The unit is headed by Bob (Alan Alda) and Steffi (Goldie Hawn), parents in the prime of middle-age that have retained an admirable zest for life. Together, they have four kids, the angsty Scott (Lukas Haas), who has decided to become a conservative Republican, the flaky Skylar (Drew Barrymore), and a pair of preteen girls, Lane (Gaby Hoffman) and Laura (Natalie Portman). Steffi's daughter DJ (Natasha Lyonne), the result of her previous marriage to writer Joe Berlin (Allen), narrates and co-stars.
As the film opens, the family is facing rambunctious family drama better described as whimsical than serious. Skylar is getting married to the earnest Holden Spence (Edward Norton), but it so easily romantically persuaded that a lasting relationship may not be a very realistic place to go. Steffi, a lifelong rich girl who has devoted her entire adult life to social work, is in the process of attempting to get convict Charles Ferry (Tim Roth) released from prison, whom she believes is serving a sentence far from the result of fairness. Wanting to find love again, Joe hooks up with the much younger Von (Julia Roberts), a woman in the grips of an unhappy marriage; Laura and Lane are interested in the same boy; and DJ won't stop falling in love with different young men. A tidy conclusion we don't get. But like life, "Everyone Says I Love You" is messy yet breathtaking.
Without the musical angle, the film would still be among Allen's most agreeable works. It is a romantic comedy that sings, inhabiting every scene with characters we come to revere and with conversational interludes that rank as some of Allen's most sagacious. The film is screwball, but not chintzily so - it carries an energy reminiscent of times during which we might have been an observer to a different family's dynamic, totally in awe of their intricate relationships, the way in which they spoke to each other. The Dandridge clan isn't unlike most American families (maybe a little richer), and the sunny ideology that life can be a humorous thing is very much intact here.
So the added touch of music and dance that "Everyone Says I Love You" provides is more than welcome, as the old cliché of characters breaking out into song actually seems fitting. Allen gets the tone we'd expect in the best of material like this: not too campy and not too self-serious, instead drifting along with arbitrary, feel-good shades and textures. We want to give it a bear hug, being so velvety, charming, and endearing in the ways a couple hours of reminiscing with family can be. With a soundtrack that includes "Making Whoopee" and "My Baby Just Cares For Me," the delivery by the actors, who normally aren't associated with the musical genre, steals our hearts. We can't get enough, as it should be with the Hollywood musical.
"Everyone Says I Love You" climaxes in a beautifully rendered scene in which Goldie Hawn and Woody Allen slow dance like Astaire and Rogers by the Seine, Hawn flying in the air as if she were a trapeze artist, singing as wonderfully as an average person can, Allen turning into a dance partner of surprising merit. It is an unforgettable way to conclude an unforgettable film, perhaps one of the most daring of Allen's career but, all great works aside, among his finest. An underrated, humble masterpiece.
Goldie Hawn dancing at the river side of the Seine is the scenes to see. Her expression is beautiful from hands to toes and her movement is smooth though she is suspended in the air. She learned ballet from age of three, taught dancing and attended musicals as a professional dance after she dropped out the college. I believe Woody Allen didn't tell Goldie Hawn to dance worse for this scene.