Interiors

Interiors (1978) feels like Woody Allen wanting us to take him seriously, as though making groundbreaking comedies wasn’t good enough. It’s an incredibly conscientious film, shot with skill by Gordon Willis and laden with somber qualities, but it’s also incredibly underwhelming. And not even that original. The problems of the characters have been explored in Allen’s films for his entire career: artistic frustration, fear of commitment, fear of death, etc. Allen has always managed to steal from himself. Some critics would argue that he’s developing several themes over the course of his long career; and if you watch an older Allen film out of context with the rest of his body of work--as I have done, seeing them in a fairly haphazard fashion, starting with, I think, 1993’s Manhattan Murder Mystery and basically working backwards--you do get an unfair advantage. I was, for instance, comparing the three sisters of Interiors (played by Diane Keaton, Mary Beth Hurt, and Kristin Griffith) to the three sisters of Hannah and Her Sisters (1986), and I kept thinking that Allen had done better with his material in that considerably lighter movie.

My mind also drifted to the comparably recent Cassandra’s Dream (2007), another of Woody Allen’s serious pieces, which I detest. Some people adore his dramas, and that’s fine. Allen obviously wants to remind us that he’s scene Bergman’s films, that he’s a well-rounded cinephile, but it’s this need to prove himself that makes Interiors so disengaging. The icy Wasp-mother, played to a kind of heartless, horrifying perfection by Geraldine Page, is so awful that it’s a relief when she drowns herself at the end, except that we know she died a martyr in her own mind. If her neglected daughter Joey (Hurt) can experience some kind of relief in the death of her unfeeling, self-involved mother, it seems somehow trite that Allen turns the event into a device, allowing Joey, the middle sibling who could never express herself like her older sister Renata, the writer (Keaton) or her gorgeous younger sister Flyn, the actress (Griffith), to finally create something fulfilling: a diary. (I must confess I’m guessing on the birth order here; I don’t know that the film makes it very clear, except that Flyn is obviously the youngest.)

With E.G. Marshall as the doctor-father who leaves his wife after 30-plus years of marriage, Maureen Stapleton as the new woman in his life (who has some good moments, the only real air in the whole movie), Sam Waterston, and Richard Jordan.

Superman II

Three criminals sentenced to eternal imprisonment by Jorel (Superman's real father) are inadvertently released from their confinement. They eventually make their way to Earth, where they have the same powers as Superman (Christopher Reeve). Superman II (1980) isn't as exciting or as fun as its predecessor, but the villains are entertaining, particularly Sarah Douglas as Ursa, who of the three bad guys is the most amused by her new-found strength. As General Zod, Terence Stamp looks a bit too ridiculous in that costume with the black, shiny boots and the V-neck, like he just walked out of an altogether different kind of movie. Gene Hackman gives the film some levity as Lex Luthor, although without his bumbling assistant Otis (Ned Beatty, who has little more than a cameo), he doesn't have anyone to make fun of. The director, Richard Lester, is constantly thinking of ways to make light of the situation, but the humor doesn't lift the film out of its funk for long. The film suffers from being too heavy-handed at times. And it's hard to believe anyone could beat Christopher Reeve up, as tall and large as he is, even after he briefly gives up his Superman powers to be with Lois Lane. Still, there are some entertaining scenes, such as Clark Kent trying to rescue Lois at Niagara Falls, and the three villains turning Metropolis (a.k.a. New York City) into a playground for their own amusement. With Margot Kidder, Jackie Cooper, Susannah York, Jack O'Halloran, Marc McClure, E.G. Marshall as the President, and Valerie Perrine. 127 min. ★★½