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Match Point

Theatrical release poster

Directed by Woody Allen

Produced by Letty Aronson

Gareth Wiley

Lucy Darwin

Charles H. Joffe

Written by Woody Allen

Starring Jonathan Rhys Meyers

Scarlett Johansson

Emily Mortimer

Matthew Goode

Brian Cox

Penelope Wilton

Ewen Bremner

James Nesbitt

Rupert Penry-Jones

Cinematography Remi Adefarasin

Editing by Alisa Lepselter

Studio BBC Films

The Montecito Picture Company

UK Film Council

Distributed by DreamWorks Pictures

Icon Productions

Release date(s) 12 May 2005 (Cannes)

6 January 2006

atch PointFrom Wikipedia, the free encyclopedia

atch Pointis a 2005 thriller film written and directed

by Woody Allen which stars Jonathan Rhys Meyers,

Scarlett Johansson, Emily Mortimer, Matthew Goode,

Brian Cox and Penelope Wilton. Rhys Meyers'

character marries into a wealthy family, but his social

position is threatenedby an affair and the subsequent

pregnancy of his brother-in-law's ex-girlfriend, played by

Johansson.

The film treats themes of morality, greed, and the roles of

lust, money, and luck in life, leading many to compare it

to Allen's earlier film, Crimes and Misdemeanors

(1989). It was produced and filmed in London after

Allen had difficulty finding financial support for the film inNew York. The agreement obliged him to make it there

using a cast and crew mostly from the United Kingdom.

Allen quickly re-wrote the script, which was originally

set in New York, for an English setting.

Critics in the United States tended to enjoy the film and

its British setting, and welcomed it as a return to form for

Allen. In contrast, reviewers from the United Kingdom

treatedMatch Pointless favourably, finding fault with

the locations and, especially, the idiom of the dialogue.Allen was also nominated for an Academy Award for

Best Original Screenplay.

Contents

1 Plot

2 Cast

3 Production4 Themes

5 Musical accompaniment

6 Reception

7 References

8 External links

Plot

Chris Wilton, a recently retired tennis professional, is

taken on as an instructor at an upmarket club in London.

He strikes up a friendship with a wealthy pupil, Tom
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(United Kingdom)

Running time 124 minutes[1]

Country United Kingdom

Luxembourg

Language English

Budget $15 million

Box office $85,306,374[2]

Hewett, after discovering their common affinity for

opera. Tom's older sister, Chloe, is smitten with Chris

and the two begin dating. During a family gathering,

Chris meets Tom's fiance, Nola Rice, and they are

instantly attracted to each other. Tom's mother, Eleanor,

does not approve of her son's relationship with the

struggling American actress, a source of tension in the

family. Chloe encourages her father, Alec, to give Chrisa job as an executive in one of his companies; he begins

to be accepted into the family and marriage is discussed.

During a storm, after having her choice of profession attacked by Eleanor, Nola leaves the house to be alone.

Chris follows Nola outside and confesses his feelings for her, and they passionately kiss in a wheat-field. Feeling

guilty, Nola treats this as an accident; Chris, however, wants an ongoing clandestine relationship. Chris and

Chloe marry, but Tom ends his relationship with Nola.

Chloe, to her distress, does not become pregnant immediately. Chris vainly tries to track down Nola, but meets

her by chance some time later at Tate Modern. He discreetly asks for her number and they begin an affair.

While Chris is spending time with his wife's family, Nola calls to inform him that she is pregnant. Panicked, Chris

asks her to get an abortion, but she refuses, saying that she wants to raise the child with him. Chris's strange

behaviour makes Chloe suspect he is having an affair, which he denies. Nola urges Chris to divorce his wife, and

he feels trapped and finds himself lying to Chloe as well as Nola. Nola confronts him at his apartment and he just

escapes public detection.

Soon after, Chris takes a shotgun from his father-in-law's home and carries it to his office in a tennis bag. On

leaving, he calls Nola on her mobile to tell her he has good news for her. He goes to Nola's building and gains

entry into the apartment of her neighbour, Mrs. Eastby. He shoots and kills her, then stages a burglary by

ransacking the room and stealing some jewelry and drugs. As Nola returns he shoots her in the stairwell. Hethen takes a taxi to the theatre to watch a musical with Chloe. Scotland Yard investigates the crime and

concludes it was committed by a drug addict stealing money. The following day, the murder is in the news. Chris

returns the shotgun and he and Chloe announce her pregnancy.

Detective Mike Banner invites Chris for an interview in relation to the murder. Beforehand, Chris throws Mrs.

Eastby's jewelry and drugs into the river, but by chance her ring bounces on the railing and falls to the pavement.

At the police station, Chris denies knowing Nola, but Banner surprises him with her diary, in which he is

featured extensively. He confesses his affair to Banner but denies any link to the murder, and appeals to the

detectives not to involve him any more in their investigation, as news of the affair may well end his marriage just

as he and his wife are expecting a baby.

Late one night, Chris sees apparitions of Nola and Mrs. Eastby, who tell him to be ready for the consequences

of his actions; he replies that his crimes, though wrong, had been "necessary", and that he is able to suppress his

guilt. At the same time, Banner dreams that Chris committed the murders. His theory is discredited by his

partner, Dowd, who informs him that a drug peddler found murdered on the streets had Mrs. Eastby's ring in his

pocket. Banner and Dowd consider the case closed and abandon any further investigation. The film ends with

Chloe giving birth to a baby boy named Terrence, and his uncle blessing him not with goodness but luck.

Cast

Jonathan Rhys Meyers as Chris Wilton

Scarlett Johansson as Nola Rice

Emily Mortimer as Chloe Hewett
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Matthew Goode as Tom Hewett

Brian Cox as Alec Hewett

Penelope Wilton as Eleanor Hewett

Ewen Bremner as Inspector Dowd

James Nesbitt as Detective Mike Banner

Rupert Penry-Jones as Henry

Margaret Tyzack as Mrs. Eastby

Alexander Armstrong as Mr. TownsendGeoffrey Streatfeild as Alan Sinclair

Miranda Raison as Heather

Rose Keegan as Carol

Colin Salmon as Ian

Toby Kebbell as Policeman

Production

The script was originally set in The Hamptons, a wealthy enclave in New York, but transferred to London whenAllen found financing for the film there.[3] The film was partly funded by BBC Films, which required that he

make the film in the UK with largely local cast and crew. Allen explained that he is allowed "the same kind of

creative liberal attitude that I'm used to" in London. He complained that the American studio system is strong

again, and not interested in making small films, "They only want these $100 million pictures that make

$500m."[4] A further change was required when Kate Winslet, who had been supposed to play the part of Nola

Rice, resigned a week before filming was scheduled to begin. Scarlett Johansson was offered the part, and

accepted, but the character had to be re-written as an American. According to Allen, "It was not a problem...It

took about an hour."[4]

Filming took place in London in the summer of 2004 over a seven-week schedule.[4] Some of the city's

landmarks, such as Tate Modern, Norman Foster's "Gherkin" building at 30 St Mary Axe, Richard Rogers'

Lloyd's building, the Royal Opera House, the Palace of Westminster, Blackfriars Bridge, and Cambridge Circus

form a backdrop to the film.[5] The tennis club scenes were filmed at the Queen's Club.[4] One of the University

of Westminster's Marylebone campus lecture theatres was also used. UK-based graffiti artist Banksy's "girl with

balloon" appears briefly in the film. Parliament View at Lambeth Bridge was used for interiors of Chris and

Chloe's apartment.

Themes

The film's opening voiceover from Wilton introduces its themes of chance and fate, which he characterises as

simple luck, to him all-important. The sequence establishes the protagonist as an introvert, a man who mediates

his experience of the world through deliberation, and positions the film's subjective perspective through his

narrative eyes. Charalampos Goyios argued that this hero, as an opera lover, maintains a sense of distance from

the outer world and that ramifications therein pale in comparison to the purity of interior experience.[6]

The film is a debate with Fyodor Dostoevsky's Crime and Punishment, which Wilton is seen reading early on,

identifying him with the anti-hero Raskolnikov.[6] That character is a brooding loner who kills an old woman to

prove that he is a superior being, but is racked by guilt and eventually admits all to a dogged sleuth, and he isfinally redeemed by punishment, the love of a poor girl, and the discovery of God. Wilton is a brooding loner

who kills a poor girl who loves him because he considers his interests superior to those around him, knows little

guilt, and avoids detection through luck. Allen signals his intentions with more superficial similarities: both killers

attempt to cover their crime by faking a robbery, both are almost caught by a painter's unexpected appearance
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Woody Allen in New York in

2006.Match Point, his 36th

film, reprises themes that he

had treated before; there were

notable similarities with Crimes

and Misdemeanours

in the stairwell, and both sleuths play cat and mouse with the suspect. Allen

argues, unlike Dostoevsky, that there is neither God, nor punishment, nor

love to provide redemption.

Allen revisits some of the themes he had explored in Crimes and

Misdemeanors (1989), such as the existence of justice in the universe. Both

films feature a murder of an unwanted mistress "offer a depressing view on

fate, fidelity, and the nature of man".

[7]

That films protagonist, JudahRosenthal, is an affluent member of the upper-middle class having an

extramarital affair. After he threatens to break the affair off, his mistress

blackmails him and threatens to go to his wife. Soon, Rosenthal decides to

murder his mistress but is distressed at the evil of the killing. Philip French

compared the two films' plots and themes in The Observer, and

characterisedMatch Point's as a "clever twist on the themes of chance and

fate".[8]

Money is an important motivator for the characters: both Wilton and Nola

come from modest backgrounds and wish to enter the Hewett family usingtheir sex appeal. That family's secure position is demonstrated by their large

country estate, and, early on in their relationships, both prospective spouses

are supported by Mr. Hewett, Wilton with a position on "one of his

companies" and Nola reports to being "swept off her feet" by Hewett's attention and presents.[9] Roger Ebert

posed the film's underlying question as "To what degree are we prepared to set aside our moral qualms in order

to indulge in greed and selfishness?" Wilton is facing a choice between greed and lust, but his sweet wife, Chloe,

herself has no qualms about having her father essentially "buy" her husband for her.[9]

Jean-Baptiste Morain, writing inLes Inrockuptibles, noticed how the strong do not accept their own weakness

and have no qualms about perpetuating an injustice to defend their interests. This wider political sense is, heargued, accentuated by its English setting where class differences are more marked than in the USA. The film

pits passion and the dream of happiness against ambition and arrivisme, resolving the dispute with a pitiless

blow that disallows all chance of justice.[10]

Musical accompaniment

The film's soundtrack consists almost entirely of pre-World War I 78 rpm recordings of opera arias sung by the

Italian tenor Enrico Caruso. This bold use, despite his variety of musical styles, constitutes a first for Allen.

Heretofore, opera has been used before in his work as an indicator of social class, such as inHusbands andWives (1992). InMatch Pointthe arias and opera extracts make an ironic commentary on the actions of the

characters and sometimes foreshadow developments in the movie's narrative.[6] Furthermore, given Wilton's

status as an introvert and opera enthusiast himself, the accompaniment emphasises his detachment from his

crime.[6]

The ten-minute murder scene which forms the film's climax is scored with almost the whole of the Act II duet

between Otello and Iago from Giuseppe Verdi's Otello.[6] This in an atypical scoring for a film since Verdi's

piece is not an aria, but a dramatic dialogue in which the words are as important as the music.[6] Thus the astute

spectator will be presented with two dramatic narratives to follow; Allen is not respecting traditional conventions

of cinematic accompaniment since the score's events do not match the story unfolding onscreen. [6]
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Arias and extracts include work by Verdi (in particularMacbeth,La traviata,Il trovatore andRigoletto),

Gaetano Donizetti'sL'elisir d'amore, Georges Bizet'sLes pcheurs de perles, and Antnio Carlos Gomes's

Salvator Rosa sung by Caruso. The romanza Una furtiva lagrima fromL'elisir d'amore is featured

repeatedly, including during the opening credits. The Caruso arias are supplemented by diegetic music from

contemporary performances that the characters attend over the course of the film. There are scenes at the Royal

Opera House and elsewhere performed by opera singers (La traviata performed by Janis Kelly and Alan Oke,

Rigoletto performed by Mary Hegarty), accompanied by a piano (performed by Tim Lole).

Reception

Allen has said thatMatch Pointis one of his few "A-films", and even arguably may be the best film that Ive

made. This is strictly accidental, it just happened to come out right. You know, I try to make them all good, but

some come out and some dont. With this one everything seemed to come out right. The actors fell in, the

photography fell in and the story clicked. I caught a lot of breaks![11]

The film was screened out of competition at the 2005 Cannes Film Festival.[12]Match Pointbroke a streak of

box office flops for Allen: it earned $85,306,374 worldwide, of which $23,151,529 was in its North American

run.[2] Allen was also nominated for an Academy Award for Best Original Screenplay.[13]

The film received generally strong reviews from critics, particularly in the United States. As of 21 January 2008,

Rotten Tomatoes reported that the film received 77% positive reviews, based on 203 reviews from American

critics.[14] Metacritic reported the film had an average score of 72 out of 100, and thus "generally favourable

reviews", based on forty professional critics.[15]Match Pointhas also been the object of scholarship. Joseph

Henry Vogel argues the film is exemplary of ecocriticism as an economic school of thought.[16] Several critics

and commentators have compared elements of the film to the central plot of George Stevens' filmA Place in

the Sun (1951), but with some characters in reverse positions.[8][17]

Ebert gave the film a full four stars, and agreed it was one of Allen's best in recent memory, in this case since

1989. He described the film as having a "terrible fascination that lasts all the way through", and ranked it with

Allen's best work.[9]Empire magazine gave the film four stars from five, calling it Allen's best of his last half a

dozen films and recommended it even to those who are not fans of the director.[18] Reviewers in the UK were

generally less favourable. Philip French, writing in The Observer, criticised Allen's grasp of English idiom and

the film's lack of humour, especially considering that two comic actors from the UK were cast in minor roles.

Also, he called the dialogue "rather lumbering" and said that "the lexicons of neither the City financier nor the

London constable are used convincingly."[8] Tim Robey, writing in The Daily Telegraph, disdained the claim

that the film was Allen's return to form. Although he acknowledged that the consensus was stronger this time, he

called it as "flat-footed a movie as Allen has ever made, a decent idea scuppered by a setting - London - which

he treats with the peculiarly tin-eared reverence of a visitor who only thinks he knows his way around."[19] He

called Johansson's character "the chain-smoking mistress from hell", but said the tennis net analogy has an

"unexpectedly crisp payoff" and that the last act was well handled.[19] Reviewing for the BBC's website, Andy

Jacobs awarded the film four stars from five, and called it Allen's best film since Deconstructing Harry (1997).

He also criticised some other British reviewers whose dislike, Jacobs claims, was due to the fact that Allen

presented an agreeable portrait of middle class life in London. He also praised the performances by Rhys

Meyers and Johansson.[7]

Like many of Allen's films,Match Pointwas popular in France: Allocine, a cinema information website, gave ita score of 4.4/5, based on a sample of 30 reviews.[20] InLes Inrockuptibles, a left-wing French cultural

magazine, Jean-Baptiste Morain gave the film a strong review, calling it "one of his most accomplished films". [10]
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External links

Official website (http://www.matchpoint.dreamworks.com)

Match Point(http://www.imdb.com/title/tt0416320/) at the Internet Movie Database

Match Point(http://www.boxofficemojo.com/movies/?id=matchpoint.htm) at Box Office Mojo

Match Point(http://www.rottentomatoes.com/m/match_point/) at Rotten Tomatoes

Match Point(http://www.metacritic.com/movie/match-point) at Metacritic

Retrieved from "http://en.wikipedia.org/w/index.php?title=Match_Point&oldid=558716050"

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