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From their Upper East Side Manhattan abode, the loves and dreams of the tribe curl around each other in an ever-changing tapestry. Skylar is currently involved with Holden (Edward Norton), a worthy if somewhat dull fiancé. With their impending marriage rising into view, the air is laced with romance, so much so that Holden busts into song while they are promenading together. Infected by the desire to surprise Skylar with an impulsive decision, Holden enlists DJ in the search for a suitably stylish ring. Initially taken aback by the somewhat rarefied prices, a choice is made; cue for the attending salesman to burst into an athletic song and dance routine. It's something of a shame then that Holden completes his plan by placing the ring in Skylar's favourite dessert, which she devours with relish.
Meanwhile, Steffi is doing her best for the charity causes that occupy her guilty, liberal time. Currently her flighty focus is aimed squarely at Charles Ferry (Tim Roth), a sometime villain and thief incarcerated in prison pending parole. Expounding her pseudo-scientific opinion of how Charles was forced into crime by virtue of his circumstances, Steffi is all for the principle of releasing him into the community. Since it's the holidays, DJ is off to Europe for her annual jaunt with Joe. Seeking to escape the memories of yet another failed relationship, Joe takes DJ to Venice, where he spots Von (Julia Roberts). Since DJ, curiously enough, has some intimate inside knowledge of Von, the plan is hatched to make Joe appear in the guise of her dream lover. The only barrier is Von's husband, Greg (Robert Knepper); still, a little competition never hurt.
Superficially a departure from the norm for Allen, Everyone Says I Love You is in fact quite allied with the remainder of his oeuvre. This does not, however, mean that the film is any the poorer for this consistency, more that it is fanciful to pretend that Allen is breaking new ground. Loosely based around the engagement of Holden and Skylar, Allen is free to explore the familiar tribulations of love, casting himself as an outsider to the perfect family on show. Ultimately, if there is a message it is nothing more than that in such a familial unit, things turn out right in the end, while age is no guarantee of wisdom. Really though it is better to consider Everyone Says I Love You as a film of little consequence, with only a single aim; to transport the viewer far away on gossamer wings and draughts of sophisticated wit.
On this basis, Allen makes little effort to more than lightly sketch in the background to his characters, principally because there's so many of them. Instead the formidable chemistry of the cast is used to drive the story along, with each role ensnared in a web of relationships. Lyonne, as the occasional narrator, plays a significant part, imparting a bubbly and optimistic quality to the film. Her contemporaries (Barrymore, Haas, Portman and Hoffmann) are barely given enough to get their teeth into, though Barrymore at least has some fun with the amusing and unsettling Roth. On the adult side, Hawn comes off very creditably, displaying a sense of poise, charm and timing which perfectly matches Steffi's personality. Her scenes with Allen exhibit a heartfelt electricity, even though he's putting out his well-established persona. The best thing about Allen is that he doesn't try to hog the limelight, leaving it instead to the ensemble. Alda, as almost a man in-between, is pleasant and funny, even though he doesn't get to do a lot, while Norton is quite passable in what could have been a thankless role. Finally, Roberts is alluring and clever, despite being forced into a purely reactive situation, with respect to Allen.
The real stand-out moments in Everyone Says I Love You arrive when songs kick in at unexpected junctures. For example, the spiralling descent of a hospital into organised chaos with "Making Whoopee" is a delight, while the ghostly dancers who pep up a wake with "Enjoy Yourself (It's Later Than You Think)" are simply tremendous. By mixing professional dancers with the actors, Allen comes to an admirable compromise, retaining both a sense of reality and the splendour of the hoof. Unfortunately Allen is unable to maintain this level throughout, though he does hit some incredible peaks. The weak points aren't, as might be expected, the voices of the cast members though (which are surprisingly passable). The problem is that many of the jokes are very simplistic and obvious, which doesn't exactly make them less funny but does feel like the easy way out. Vintage Allen would have extracted far more from the bleeding heart liberals, especially when confronted by a bogeyman of their own making. This whole sub-plot is handled in a very perfunctory (and unsatisfying) fashion, with an easy resolution and no lasting impact upon the family.
Everyone Says I Love You is in some ways a return to the very early days for Allen, with lots of self-contained gags that pay off quickly, little thought for social consequence and fast pacing. There is no need for deep meaning because the musical is complete within itself, even as the movie is self-aware enough to realise that the songs are essentially unnatural. Maybe the point is that everyone really seems to be enjoying themselves and Allen manages to transmit this to the audience. What more could anyone ask for?
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