|
Alphabetic Index
|
Ratings Index
|
Web Resources
|
Alphabetic Index
|
Ratings Index
|
Web Resources
The consequence of such chaos is that Harry has had experiences aplenty, giving him lots to write about; his stories are autobiography barely masked. This is not so wonderful for the people that Harry used to love, like his former sister-in-law Lucy (Judy Davis). She's furious, almost murderously livid, at Harry's treachery, his wanton dissection of her life. That's just one of the reasons why Harry rarely gets to see the only person, apart from himself, that he truly loves, his son Hilly (Eric Lloyd). Around and about there are old flames, Fay (Elisabeth Shue), and old friends, Richard (Bob Balaban), but no one wishes to see Harry honoured by his alma mater.
As with most of Allen's films, Deconstructing Harry contains a hint of real-life within its layered fictions. In fact, this production positively reeks of it. And yet, as is again so often the case, Allen plays tricks, pretending honesty without giving himself away. Just when you think you've got a grip on his inner beliefs, Allen turns round to reveal someone else. So Deconstructing Harry is nothing new. Beyond technical ingenuity and a fascination with rude words, Allen serves up his trademark blend of sharp humour, way-out scenes, fleeting cameos and simple enjoyment. That's the problem. Allen is so talented at exploiting this single niche that we can tolerate his lack of variety. Deconstructing Harry won't woo any new converts to Allen's fold but who cares; for fans it's warm and familiar.
The flip side to this jollity is, however, a pronounced undertow of almost malice. This is the aspect of Allen that all are aware of and most choose to ignore, the twist that allows him to seduce his lover's adopted daughter. If Harry is taken to be Allen, his alter ego, a great deal can be inferred from the brutish, hurtful, self-obsessed and selfish title character. At all points Harry uses people, manipulating past, present and future to make himself the victim and them the victimiser. As Deconstructing Harry puts it, if you're an artist then normal laws of conduct no longer apply, you're unfathomable and deserve carte blanche. Of course this is all pure speculation. Allen never speaks outright on this theme, yet he says it none the less, like he's mouthing the words without vocalising them. If you have a problem with half-apologies then approach with care!
Ignoring the above, Deconstructing Harry contains much to admire. In structure it's inspired, marked by the fragmented editing of Susan E. Morse. Reflecting the broken-up path of Harry's existence, scenes initially jump and pop as if part documentary. Obvious maybe, thinking back to Husbands and Wives, but effective in terms of enhancing Harry's character. Then, gradually, the film coheres. The separation between Harry's real life and that of his shadow creations narrows; these stories, brought brilliantly to life by Allen, shed light on the "true" Harry. As the two worlds come close, their spheres of influence merge and interact; difficult to describe, great to watch. Suddenly, where the script felt disjointed it becomes whole, sketching Harry in his entirety. Now we can see what the all the characters are talking about.
It's with the small roles that Deconstructing Harry shines, an example of firm cast control. Rarely do these bit parts feel superfluous, whether the acting itself is delightful or average, because they get most of the really great lines and you expect less of them. So, amongst others, Demi Moore and Robin Williams are surprisingly agreeable. It's almost a pity that for all of Allen's pseudo-daring, the movie doesn't go anywhere or achieve more than a bland resolution. After a brilliant start, a focused and scathing attack on Harry, the story is studded with highpoints rather than an unbroken stream of comedy. So, with some reservations, Deconstructing Harry remains a valiant, not very outstanding effort.
|
Alphabetic Index
|
Ratings Index
|
Web Resources