Scarlett Johansson: porn movies? Why not ...

<br /><h3>Scarlett Johansson has given his opinion, rather favorable to adult films in an interview with the U.S. edition of Marie Claire.</h3><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEija3vUOV_inM7tWnzsRcWVWOmIwpcz5bnc933l2JaNt6ksoX5OWzN0ukxsUYCQlQY38qqrdkQpmdbWxMIGqPd_nVl0eoOP3O0LYcd2JcDM5zt5qDN_F2Pxw4VH1NtYC83_7ShdZ5HgLOU/s1600/Scarlett+Johansson++porn+movies.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEija3vUOV_inM7tWnzsRcWVWOmIwpcz5bnc933l2JaNt6ksoX5OWzN0ukxsUYCQlQY38qqrdkQpmdbWxMIGqPd_nVl0eoOP3O0LYcd2JcDM5zt5qDN_F2Pxw4VH1NtYC83_7ShdZ5HgLOU/s1600/Scarlett+Johansson++porn+movies.jpg" /></a></div><br />Scarlett Johansson keeps her sultry picture! After being voted the Sexiest Woman of the Year by the American magazine Esquire seven years after his first victory, the 28-year-old actress dropped a little phrase that some people do not forget! While she was just engaged to a Frenchy, Scarlett Johansson is the fantasy of many and will certainly continue to be<br /><br /><script async src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script><!-- biner text roze --><ins class="adsbygoogle" style="display:inline-block;width:468px;height:60px" data-ad-client="ca-pub-8441125172513237" data-ad-slot="7498839908"></ins><script>(adsbygoogle = window.adsbygoogle || []).push({}); </script><br /><br /> In an interview with the Maris Claire U.S., and it says<br /><br /><blockquote class="tr_bq">" porn, it's like everything, it can have a pleasant side. " </blockquote>For Scarlett Johansson, everyone can find his pleasure:<br /><br /><blockquote class="tr_bq">"It may be productive for both men and women," </blockquote>she says. It does not, however, says even if she is a fan<br /><br /> However, she admits:<br /><br /><blockquote class="tr_bq"> "I'd be embarrassed if my boyfriend looked much porn." </blockquote>A poster of Don Jon, movies for which she served a flaming promo, Scarlett Johansson plays the girlfriend of obsessed with porn movies ... to see what happens, but in the meantime we like to keep in mind its glamorous image in the new Dolce & Gabbana ad with Matthew McConaughey.<br /><br /><script async src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script><!-- biner text roze --><ins class="adsbygoogle" style="display:inline-block;width:468px;height:60px" data-ad-client="ca-pub-8441125172513237" data-ad-slot="7498839908"></ins><script>(adsbygoogle = window.adsbygoogle || []).push({}); </script><br /><br />

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Scarlett Johansson has given his opinion, rather favorable to adult films in an interview with the U.S. edition of Marie Claire. Scarlett Jo...

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Scarlett Johansson - Marie Claire UK Magazine December 2013

<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDapOd39Cq9B35gVaxhocJaVCpLcSKBrg-QtR1zmkQhfFwFNHwJ4vtaTn_qAl1vHABP3u6k0lZ_mPHf6SI9yHwCv0kMWbf6Kyghl-RHQ9QnSC-A_CNvC1UOZC2yYgPjsIXURBQOjpA62U/s1600/Scarlett-Johansson-Marie-Claire-UK-02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="728" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDapOd39Cq9B35gVaxhocJaVCpLcSKBrg-QtR1zmkQhfFwFNHwJ4vtaTn_qAl1vHABP3u6k0lZ_mPHf6SI9yHwCv0kMWbf6Kyghl-RHQ9QnSC-A_CNvC1UOZC2yYgPjsIXURBQOjpA62U/s640/Scarlett-Johansson-Marie-Claire-UK-02.jpg" width="520" /></a></div><a name="more"></a><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcpmeffl5kvyDQeDR_0xhDe5J6lBxGJtplK5619O186mPFtPmX9TPOpokhBeW_GBSeHbhP5q4GDCELSuMGaAJ-8TzODviXkhz-1ayvfzY2Cb4Y8mpyQb5qz-Su5pLVmrdwJf6UZwV4aGs/s1600/Scarlett-Johansson-Marie-Claire-UK-03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcpmeffl5kvyDQeDR_0xhDe5J6lBxGJtplK5619O186mPFtPmX9TPOpokhBeW_GBSeHbhP5q4GDCELSuMGaAJ-8TzODviXkhz-1ayvfzY2Cb4Y8mpyQb5qz-Su5pLVmrdwJf6UZwV4aGs/s320/Scarlett-Johansson-Marie-Claire-UK-03.jpg" width="237" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz74jfzPGPOwzzXaymiYl0kpIkCth0qLMiyOTkZXzhemPboujvnoMwApA8qVbz69lJMziijQP2efJL7Ihg1wU3MU4oO88aykD5IqEsHbeYUtAYbYJGlVnjqagG6Gt9dhzHwSVBmrloFVM/s1600/Scarlett-Johansson-Marie-Claire-UK-04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz74jfzPGPOwzzXaymiYl0kpIkCth0qLMiyOTkZXzhemPboujvnoMwApA8qVbz69lJMziijQP2efJL7Ihg1wU3MU4oO88aykD5IqEsHbeYUtAYbYJGlVnjqagG6Gt9dhzHwSVBmrloFVM/s320/Scarlett-Johansson-Marie-Claire-UK-04.jpg" width="237" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzj9gqOm6T7BpfiKRN4plTR3aQAvo7R5UVgmRtx2UtyGbgoW0-sh0YMAp_Z0txa2c7x5in_rQnVbq29tLRmTsYeLfzjQT73XGeu6feyaCEc4m-MsJ8rv0rk7tiUCjLljr_f4_JIE29Oms/s1600/Scarlett-Johansson-Marie-Claire-UK-05.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzj9gqOm6T7BpfiKRN4plTR3aQAvo7R5UVgmRtx2UtyGbgoW0-sh0YMAp_Z0txa2c7x5in_rQnVbq29tLRmTsYeLfzjQT73XGeu6feyaCEc4m-MsJ8rv0rk7tiUCjLljr_f4_JIE29Oms/s200/Scarlett-Johansson-Marie-Claire-UK-05.jpg" width="143" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDA8yUMAWphtrbjfN_T1Gg1HtHe24g5y6RlY3lElasnaouM3OLvTz4hqiz9rM7FPoUylYqXflNNvqC1gYULj7hlWTx1Ywgc7GasFbJTUQ8u_6pg_NW5jziLPkR1D28jqVewkmv_UDkCSE/s1600/Scarlett-Johansson-Marie-Claire-UK-06.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDA8yUMAWphtrbjfN_T1Gg1HtHe24g5y6RlY3lElasnaouM3OLvTz4hqiz9rM7FPoUylYqXflNNvqC1gYULj7hlWTx1Ywgc7GasFbJTUQ8u_6pg_NW5jziLPkR1D28jqVewkmv_UDkCSE/s200/Scarlett-Johansson-Marie-Claire-UK-06.jpg" width="143" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaeMT2y-wVWYq1bDgbYr0WY9lCI2gztUu8w-lFoUFHqdaWngHYFvMA7KreOGAq1-1YN6QoIGgx8lk8kNIaV2Mg_niRzydFsGrMUZsb7OTEXjrLuvW5iT4J7JfvxBMMEBhPvff4abrqJRI/s1600/Scarlett-Johansson-Marie-Claire-UK-07.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaeMT2y-wVWYq1bDgbYr0WY9lCI2gztUu8w-lFoUFHqdaWngHYFvMA7KreOGAq1-1YN6QoIGgx8lk8kNIaV2Mg_niRzydFsGrMUZsb7OTEXjrLuvW5iT4J7JfvxBMMEBhPvff4abrqJRI/s200/Scarlett-Johansson-Marie-Claire-UK-07.jpg" width="143" /></a></div><a href="http://en.wikipedia.org/wiki/Scarlett_Johansson" target="_blank">Scarlett Johansson </a>- <a href="http://www.marieclaire.co.uk/" target="_blank">Marie Claire UK </a>Magazine December 2013

Marie Claire Marie Claire UK Scarlett Johansson Scarlett Johansson - Marie Claire UK Magazine December 2013

Scarlett Johansson - Marie Claire UK Magazine December 2013

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Don Jon: Love's labors lost

<span class="Apple-style-span" style="background-color: white; color: #5e5e5e; font-family: Arial, Helvetica, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><b><i>Don Jon</i> </b></span></span></span></span></span></span><b>(2013) • <a href="http://trailers.apple.com/trailers/independent/donjon/" style="color: #27a9c5; text-decoration: none;">View trailer</a></b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><b> </b><br /><b>Three stars. Rating: R, for strong graphic sexual material and dialogue, nudity, profanity and drug use</b></span></span></span></span></span></span></span></span><br style="background-color: white; color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;" /><span class="Apple-style-span" style="background-color: white; color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><span class="Apple-style-span" style="font-weight: normal;"><b>By <a href="http://www.blogger.com/profile/12885694730612878577" style="color: #27a9c5; text-decoration: none;">Derrick Bang</a></b></span></b></span><br /><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span> <!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting/> <w:PunctuationKerning/> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:DontGrowAutofit/> <w:DontAutofitConstrainedTables/> <w:DontVertAlignInTxbx/> </w:Compatibility> </w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles></xml><![endif]--> <!--[if gte mso 10]><style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style><![endif]--> <!--StartFragment--> <br /><div class="MsoNormalCxSpFirst"><span style="font-family: Arial, Helvetica, sans-serif;">Fledgling writers have a tendency toward overkill, a problem that repeatedly plagues this film.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_SKNq2WIT6xG4jOg15jXq-F5twtrhAMWYn-q92QD2s7zIvMRPGePXGO9osQJ3sbWpS0Ill-aWafMwB__0-e9pO__cit2fHtRd0IkwkvZ5QYPad8D_ElIJkpskEvGWdUr0gARul_pwcu8/s1600/Don+Jon+blog.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_SKNq2WIT6xG4jOg15jXq-F5twtrhAMWYn-q92QD2s7zIvMRPGePXGO9osQJ3sbWpS0Ill-aWafMwB__0-e9pO__cit2fHtRd0IkwkvZ5QYPad8D_ElIJkpskEvGWdUr0gARul_pwcu8/s400/Don+Jon+blog.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">When Barbara (Scarlett Johansson, standing center) insists on meeting her new lover's<br />friends, Jon (Joseph Gordeon-Levitt, standing center) obliges by arranging a gathering<br />at a local club. Barbara, obviously pleased, is all sweetness and smiles ... but, in truth,<br />this is merely the latest in what will become a string of one-sided little victories.</span></td></tr></tbody></table><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Although dissecting the nature of True Love has been a laudable quest since stories were told via cave paintings, Joseph Gordon-Levitt — making his debut here as a big-screen writer <i>and</i> director — wields a meat cleaver when a scalpel would have sufficed. He has a solid sense of what’s funny, and a good ear for relationship dynamics, but his hammer-handed approach is guaranteed to alienate the very people likely to be most touched by this story’s core moral, and its outcome.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">He also falls into another common trap. Repetition rarely enhances a lesson; we merely get bored. Or, in this case, disgusted.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">In this particular case, it simply isn’t necessary to share what his porn-addicted character views during every spare moment; we don’t need to watch <i>with</i>him. The first montage of taut breasts, erect nipples, firm butts and willing mouths is sufficient; from that point forward, we <i>know</i> what he’s watching every time he sits in front of his laptop screen.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Indeed, all we need is the familiar F-sharp-major start-up chime, which Gordon-Levitt unerringly employs for maximum comic effect ... but then he ruins the moment, each time, with yet another tiresome display of thrusting bodies and naughty bits.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">And vulgar off-camera commentary. Gordon-Levitt also beats <i>that</i>affectation to death.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">The story, then:<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Jon Martello Jr. (Gordon-Levitt) is a blue-collar New Jersey late twenty-/early thirtysomething bartender who takes enormous pride in his apartment, his car, his appearance and his ability to score with the ladies. Thanks to this latter talent, guy pals Bobby and Danny (Rob Brown and Jeremy Luke) have nicknamed him “Don Jon.”<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Trouble is, Jon doesn’t enjoy women for their companionship or relationship potential; he objectifies them to the extreme and is interested in sex strictly for its own sake. But that isn’t satisfying; he can’t “lose himself” in lovemaking with a flesh-and-blood female partner, the way he experiences a brief “happy zone” with the assistance of an ideal Internet porn clip.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><a name="more"></a><br /> <div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">On a deeply submerged level, Jon vaguely realizes that something is wrong with his approach, and with his choices, but he’s too content with the status quo to probe. And so he cheerfully follows this long-established routine, expiating any guilt while dutifully attending church each Sunday morning, cataloguing his list of sins and accepting a penance of Hail Marys and Our Fathers (a cute running gag).<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Then it’s Sunday lunch with his tempestuous family: boorish, loud-mouthed father Jon Sr. (Tony Danza), who insists on watching football during the meal; forever frazzled mother Angela (Glenne Headly), who’s “ready to be a grandmother” and wishes her only son would settle down with a nice girl; and bored younger sister Monica (Brie Larson), who rolls her eyes a lot, never says a word, and texts during the shouting that invariably punctuates this weekly ritual.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Monica’s silence, an even funnier running gag, eventually builds to an unexpectedly hilarious — and insightful — payoff: further proof that Gordon-Levitt has solid comedy instincts, if he’d simply get out of his own way.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">The dynamic shifts during a typical evening of club trolling, when Jon spots “a perfect dime (10)” loitering near the bar: That would be Barbara Sugerman, played to husky, erotic perfection by Scarlett Johansson. Although just as earthy and crude as Jon — an apparent Jersey girl archetype in this post-Snooki universe — Barbara isn’t “easy,” as she makes abundantly clear by refusing to go home with him that first night.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Intrigued, Jon does some quick research, comes up with her name and Facebook page, and figures out how to wheedle a lunch date. Similarly intrigued — or perhaps only amused — she accepts. They begin a relationship; Jon finds that he can’t get Barbara off his mind. But her refusal to hit the sack does nothing to curb his laptop activities.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">At the same time, Barbara has an odd way of expressing her faux chasteness, since she soon teases Jon with a level of physical contact that builds the poor guy into helpless sexual tension. One hallway encounter, outside her apartment, deserves placement in the list of all-time Sexiest Moments While Fully Clothed.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">It appears, at first blush, that Barbara is using the only weapon at her disposal to “reform” Jon: to make him a better, kinder, more thoughtful person. Goodness knows, he could use some work. And so she insists on meeting his family and friends, and taking him to meet her family: the sort of stuff that couples do, when they’re starting to think long-term.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">But it becomes apparent that Barbara is neither altruistic nor benign, and we start to wonder: At what point do attempted refinement and the elimination of bad habits morph into an unhealthy character makeover?<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Jon couldn’t answer such questions, not being adept at self-analysis (yet). But he understands that this relationship is off-kilter, somehow, because he still can’t shake the porn habit ... not even when Barbara finally consents to become his full-time bedmate.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Faint glimmers of perspective arrive with Esther (Julianne Moore), a fellow student — an “older woman” — also taking the night class that Barbara has insisted Jon enroll in. (The subject remains unspecified; we only know that it looks and sounds as dry as chalk dust.) Esther, wise in the way of maturity, also is candid to a fault: a trait that Jon initially finds disconcerting, even alienating. But Esther isn’t destined to be a chance encounter, and therein lies this story’s third — and most satisfying — act.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Moore lights up the screen the same way her character invigorates this film. Esther is bright, perky and shrewdly astute; she sizes up Jon with sharp observational skills that Sherlock Holmes would admire. At the same time, Esther is damaged goods herself; we see pain lingering at the edges of Moore’s eyes, and in the subtle slump of her body.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Esther is, in short, a truly genuine person: quite a shock, in a film otherwise littered with stereotypes and shallow, two-dimensional stick-figure characters.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Whether she’s enough to rescue this otherwise clumsy rom-com will depend on the viewer’s tolerance for smut. Needless to say, this is not a film for the easily offended; the R-rating is well deserved.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Gordon-Levitt certainly has a handle on his portrayal of Jon, and (as director) he deftly plays with us throughout this story: Is Jon a sympathetic character, deserving of growth or redemption, or is he simply a shallow lout? He’s certainly not mean-spirited <i>per se</i>, merely self-absorbed. And, let’s face it, the apple clearly didn’t fall far from the tree, given his father’s behavior.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">In terms of the story’s comedy elements, Gordon-Levitt knows precisely how to use his wicked sidelong glances and near-smiles of amused suspicion. Given the available evidence here, there’s no question that he can act and direct; I’m less persuaded of his writing skills.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">And yet he scores some insightful social commentary, as when Jon points out that we all wallow in habitual behavior; his just happens to be socially unacceptable. Barbara is hooked on maudlin romantic melodramas, and who’s to say her taste is any better or worse than his? (One of these big-screen weepers, skewered for maximum hilarity, stars an unbilled Anne Hathaway and Channing Tatum.)<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Johansson has a wickedly good time as the overtly sensual Barbara, who drips lust while cooing with obviously false innocence; she incessantly calls Jon “Baby,” which — right there — should be enough to make any wary man head for the hills. At first, Johansson cleverly allows only the slightest glimpses of Barbara’s actual personality; her very bearing then shifts once this spider feels she has her fly sufficiently trapped.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">Danza and Headly are overplayed burlesques, the family meals having no more relation to reality than Jackie Gleason’s scenery-chewing outbursts more than half a century ago, on TV’s <i>The Honeymooners</i>. Luke and Brown, similarly, remain under-developed as Danny and Bobby ... although Brown tries mightily to layer some depth into his performance. The script simply doesn’t give him enough to work with.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">The poster publicizing <i>Don Jon</i> highlights wildly enthusiastic, single-word pull-quotes from various reviews: stellar, hilarious, genuine, emotional, edgy, confident. I’ll give it edgy and hilarious (the latter only at times), but the rest are wishful thinking. Yes, this is an interesting first effort from an actor turned writer/director, and Gordon-Levitt certainly bears watching, should he pursue a broader career as a hyphenate.<o:p></o:p></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-family: Arial, Helvetica, sans-serif;">But that doesn’t change the fact that <i>Don Jon</i> is uneven, frequently clumsy and needlessly offensive. Proceed with caution.</span><span style="font-family: Times New Roman;"><o:p></o:p></span></div><!--EndFragment-->

2013 Brie Larson Comedy Glenne Headley Jeremy Luke Joseph Gordon-Levitt Julianne Moore Rob Brown romantic Scarlett Johansson Tony Danza Vulgar Don Jon: Love's labors lost

Don Jon   (2013) •  View trailer   Three stars. Rating: R, for strong graphic sexual material and dialogue, nudity, profanity and drug use B...

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Woody Allen, Master of Suspense?

<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHdCBaLPwrWstMYKgqVUZM_xuVsHIQNCkQZuYuSLh2zXabu9mcf5iU-E_0abwSR9B0rB_CZOfm9C0L3L4SfDff7c5sCJqvQnVqqS1cykTo8TtWaIo64BiWZTUcSiNcFT6oCGPYqY20pROW/s1600/movie+poster+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="343" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHdCBaLPwrWstMYKgqVUZM_xuVsHIQNCkQZuYuSLh2zXabu9mcf5iU-E_0abwSR9B0rB_CZOfm9C0L3L4SfDff7c5sCJqvQnVqqS1cykTo8TtWaIo64BiWZTUcSiNcFT6oCGPYqY20pROW/s400/movie+poster+1.jpg" width="400" /></a></div><br /><i><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">This post is my contribution to The Best Hitchcock Films Hitchcock Never Made blogathon hosted by Tales of the Easily Distracted and Classic Becky's Brain Food. <a href="http://doriantb.blogspot.com/p/best-hitchcock-movies-that-hitchcock.html" style="color: #cc0000;" target="_blank">Click here</a> for more information and links to participating blogs.</span></span></i><br /><div style="text-align: center;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">~</span></span></div><div style="text-align: left;"></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span lang="EN" style="font-size: small;">On the face of it, the only thing Alfred Hitchcock and Woody Allen seem to have in common is the distinction of being aknowledged as preeminent auteurs. As Michael Newton put it in <i>The Guardian</i> earlier this year, </span><span style="font-size: small;">"Along with Alfred Hitchcock, Allen must be the most recognizable director in the history of cinema."</span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;"></span><br /><a name="more"></a></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span lang="EN" style="font-size: small;">Hitchcock, who spent most of his career working within the studio system, developed the habit early on of planning and shooting his films so carefully that they were virtually immune to being re-cut by anyone else. Then, in 1954, he entered into a deal with Paramount that allowed him to work autonomously, provided generous production budgets and gave him ownership of those films he both produced and directed. Allen‘s career as a director took off in the 1970s, just as a new generation of independent-minded filmmakers swept into Hollywood. Almost from the beginning he had a remarkable arrangement with his financiers and distributors: as long as he stayed within budget he would have complete artistic freedom. Hitchcock, who began in the silent era, was influenced by German expressionism and Soviet montage theory and approached film as visual storytelling. Allen began as a writer and, naturally, has relied more on dialogue and use of the long master shot in his films. Hitchcock became synonymous with big movies with high production values while Allen has made films </span><span lang="EN" style="font-size: small;">with an "art house" sensibility and appeal</span><span lang="EN" style="font-size: small;"> on relatively small budgets. </span><br /><br /><span lang="EN" style="font-size: small;">And yet, in 2005 Woody Allen made a film of distinctly “Hitchcockian” elements. <i>Match Point </i>is a sexy thriller about luck and morality set in modern-day London. The film showcases two intensely magnetic stars, Jonathan Rhys Meyers (<i>Bend it Like Beckham</i>, <i>Mission Impossible III</i>, <i style="color: black;">The Tudors</i>) and Scarlett Johansson (<i style="color: black;">Lost in Translation</i>, <i>Iron Man II</i>, <i>The Avengers</i>).</span><br /><br /><div style="text-align: center;"><span lang="EN" style="font-size: small;"> </span> <iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/ZCcRkBMhllI" width="420"></iframe> </div><div style="text-align: center;"><span style="font-size: x-small;">With a little luck it goes forward and you win. Or maybe it doesn't, and you lose...</span></div><br />Chris Wilton (Rhys Meyers) is a former professional tennis player hired by a posh London tennis club as an instructor. There he meets Tom Hewett (<span style="color: black;">Matthew Goode</span><span style="color: red;"></span>), scion of an extremely moneyed British family. The two become friendly and when Tom discovers Chris enjoys opera, he invites him to join his family in their box at the Royal Opera House for a performance of <i style="color: black;">La Traviata</i>. There Chris meets Tom’s parents and his eligible and instantly smitten sister, Chloe (<span style="color: black;">Emily Mortimer</span>); romance blooms. Soon after, Chris meets Nola Rice (Johansson), Tom’s luscious fiancée, an aspiring American actress. While the Hewett progeny are attractive enough physically, their wealth, position and lifestyle of culture and privilege are even more appealing. Chris and Nola are good-looking, charismatic creatures and, much as each knows they are onto a good thing with their respective lovers, sparks fly between them.<br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT2n2OOyQbXoQjCnWP-juxIsmlGPLNEEJ8hZZxfsC9DdVxZvavvsFSDCp_qXYQ0r20RhyphenhyphenvGOazvLJ5q7vo9BRGOcpQZA9i0peKjDIzf_8GTF7L1nnM-tpGEuG7d7eon3svGLATz_hH4Or5/s1600/Woody+Allen+blonde.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT2n2OOyQbXoQjCnWP-juxIsmlGPLNEEJ8hZZxfsC9DdVxZvavvsFSDCp_qXYQ0r20RhyphenhyphenvGOazvLJ5q7vo9BRGOcpQZA9i0peKjDIzf_8GTF7L1nnM-tpGEuG7d7eon3svGLATz_hH4Or5/s320/Woody+Allen+blonde.jpg" width="298" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jonathan Rhys Meyers and Scarlett Johansson as Chris Wilton and Nola Rice</td></tr></tbody></table><br />This Woody Allen-penned, Oscar-nominated story could easily have appealed to Alfred Hitchcock who knew not only the value of a good, well-scripted story, but also made two films about tennis playing protagonists with problematic relationships and status issues who become involved in murder. In <i style="color: black;">Strangers on a Train</i> (1951), competitive tennis player Guy Haines aspires to a loftier position in life and hopes to divorce his small-town floozy wife so he can marry the daughter of a U.S. senator. In <i>Dial M for Murder</i> (1954), retired tennis player Tony Wendice, who has discovered that his wealthy wife has been carrying on a serious love affair, fears he may lose his meal ticket and cushy lifestyle.<br /><br />But before any inkling of murder surfaces in <i>Match Point</i>, Chris, who is headed for marriage to Chloe and a good job with “one of” her father’s companies, develops a fascination with Nola. When, one day, he runs into her on the street, the two end up having drinks together. They talk about themselves and their relationships with Chloe and Tom and the elder Hewetts. Nola remarks that Eleanor, Tom and Chloe’s mother, hates her but that Chris is more fortunate, he’s “being groomed.” </div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span lang="EN" style="font-size: small;">Nola: You’re going to do very well for yourself, unless you blow it.</span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span lang="EN" style="font-size: small;">Chris: And how am I going to blow it?</span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span lang="EN" style="font-size: small;">Nola: By making a pass at me.</span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span lang="EN" style="font-size: small;">Chris: What makes you think that’s going to happen?</span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span lang="EN" style="font-size: small;">Nola: Men always seem to wonder. They think I’d be something very special.</span><br /><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqHduv9W5vE3va16FHrc2e6KXLo6eRZoR3h7Fm_hnEJ1TSCpENeuqZbX-pSoFqogmbn8Euom_aWidHRSOrFhyphenhyphenOQdQPxxqrQZ6OH0UZVCPNgFqGHXkl2AdSXc6MTJdHZ_Rd302iU8zQExGA/s1600/Chris+and+Nola.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqHduv9W5vE3va16FHrc2e6KXLo6eRZoR3h7Fm_hnEJ1TSCpENeuqZbX-pSoFqogmbn8Euom_aWidHRSOrFhyphenhyphenOQdQPxxqrQZ6OH0UZVCPNgFqGHXkl2AdSXc6MTJdHZ_Rd302iU8zQExGA/s320/Chris+and+Nola.jpg" width="311" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Scarlett Johansson will portray Janet Leigh In "Hitchcock" (2013)</td></tr></tbody></table><span lang="EN" style="font-size: small;">The two laugh, but Chris is powerfully tempted. Scarlett Johansson's Nola Rice begins as an assured, almost taunting beauty confident of her sexual appeal. She isn't quite the Grace Kelly version of the <a href="http://eves-reel-life.blogspot.com/2011/08/hitchcock-blonde.html" style="color: #cc0000;" target="_blank">Hitchcock blonde</a>, but falls somewhere between the worldly hedonism of Ingrid Bergman at the beginning of <i>Notorious</i> (1946) and Kim Novak's subdued sultriness in <i>Vertigo</i> (1958). A blonde who flirts with danger, Nola is Hitchcock's kind of woman.</span><br /><br /><span lang="EN" style="font-size: small;">When fate eventually provides the moment, the two indulge in a frenzy of passion, but Nola warns, "this can't lead anyplace." Chris goes on to marry Chloe and Tom later breaks off with Nola (Tom: "mother poisoned the well"). Chris adapts to life on the corporate fast track, he and Chloe move into a spectacular, glass-encased apartment overlooking the Thames and she is soon fixated on becoming pregnant. The vitality begins to drain from Chris's life. As luck will have it, he and Nola meet again and this time she, who is beginning to lose her self-confidence and show slight signs of wear, is available. A torrid affair begins. As Chris embarks on a double life, the atmosphere quickens with tension. When his romance with Nola hits the wall of reality and she begins to pose a threat, unrelenting suspense mounts until a neatly executed plot twist brings unexpected resolution.</span><br /><div style="text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/NCNhPLortkk" width="560"></iframe></div><div style="text-align: center;"><span style="font-size: x-small;">The man who said, "I'd rather be lucky than good" saw deeply into life...</span></div><br /><span lang="EN" style="font-size: small;">What helps to create the film's tension and suspense are themes and motifs that echo Hitchcock: </span><br /><ul><li><span lang="EN" style="font-size: small;"><i>The Wrong Man</i> - Occasionally Hitchcock turned this theme on its head and the innocent man accused would be a secondary character rather than the protagonist. This character's sudden death puts an end to further police investigation. The device is employed in both <i>Blackmail </i>(1929) and <i>Shadow of a Doubt</i> (1943)  - it also occurs in <i>Match Point</i>.</span></li><li><span lang="EN" style="font-size: small;"><i>Doubles </i>- A recurrent Hitchcock theme in which two characters seem kindred spirits until their bond is broken. Classic examples are the relationships between Guy Haines and Bruno Anthony in <i>Stangers on a Train </i>and "the two Charlies" in <i>Shadow of a Doubt</i>. Chris and Nola appear to be two of a kind when they meet over a ping pong table. But, as she learns, he plays "a very aggressive game."</span></li><li><span lang="EN" style="font-size: small;"><i>Obsession</i> - <i>Vertigo</i> is a virtual meditation on obsession, but Hitchcock contemplated fascination several times. Young Charlie is enchanted by her Uncle Charlie in <i>Shadow of a Doubt</i>, Bruno is obsessed with Guy in <i>Strangers on a Train</i>, two young men are enthralled with a philosophy in <i>Rope </i>(1948), </span><span lang="EN" style="font-size: small;">in <i>Rear Window</i> (1954) </span><span lang="EN" style="font-size: small;">L.B. Jeffries becomes obsessed with his neighbors' lives and his belief that a murder has been committed.</span></li><li><span lang="EN" style="font-size: small;"><i>The staircase motif</i> is an image Alfred Hitchcock used frequently - famously in <i>Suspicion </i>(1941), <i>Shadow of a Doubt, Notorious, Strangers on a Train, Vertigo </i>and <i>Psycho </i>(1960). Staircases are prominently featured in <i>Match Point.</i></span></li><li><span lang="EN" style="font-size: small;"><i>The dominant mother</i> is another Hitchcock trademark. Mrs. Bates is a powerful unseen presence in <i>Psycho;</i> in <i>Notorious</i>, Mme. Sebastian has all but emasculated her son<i>. </i>Outspoken Eleanor Hewett's disapproval of Nola in <i>Match Point </i>is pivotal.</span></li><li><span lang="EN" style="font-size: small;"><i>Landmarks</i> are common backdrops for important scenes </span><span lang="EN" style="font-size: small;">in Hitchcock films - t</span><span lang="EN" style="font-size: small;">he list is long, from the British Museum in <i>Blackmail</i> forward. <i>Match Point </i>showcases London landmarks including The Tate Modern museum, The Royal Opera House at Covent Garden, the stunning Parliament View Apartments and The Queen's Club. Unlike Allen's treatment of New York in <i>Manhattan </i>(1979), <i>Match Point </i>is no homage to a city, rather, the attractions of London enhance the film's narrative.</span></li></ul><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_9cI720lOtaqflVMPBJ217t6ro2B7ht5inyWq1nbbPzTFLtVhJkFRMBnr_BrV7v3yRtqY4wB-AwRsDFp2jCZkQut_2Ah-4RXR9WkWlfWhP445TrHtYkbzyX42nbv98P_l4fR4zB1bh1tP/s1600/jonathan.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_9cI720lOtaqflVMPBJ217t6ro2B7ht5inyWq1nbbPzTFLtVhJkFRMBnr_BrV7v3yRtqY4wB-AwRsDFp2jCZkQut_2Ah-4RXR9WkWlfWhP445TrHtYkbzyX42nbv98P_l4fR4zB1bh1tP/s320/jonathan.jpg" width="215" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jonathan Rhys Meyers</td></tr></tbody></table>As well known for his ability to cast a film as Alfred Hitchcock, Woody Allen has said that his philosophy is to “hire the best actors, shut up and get out of their way.” One of <i style="mso-bidi-font-style: normal;">Match Point</i>’s great strengths is its cast, especially Jonathan Rhys Meyers in the central role. His Chris Wilton subtly and evocatively transforms from a beguiling “boy from Ireland come to London” who would like to do something special with his life, to a remote and preoccupied rising executive with dark secrets on his compliant conscience. Rhys Meyer’s sympathetic introduction along with selective point-of-view camera work engages the viewer; Chris is captivating. By the time he has fallen into desperation and is entangled in murder, we find ourselves complicit and anxious about his fate. Hitchcock managed this trick many times with his proclivity for point-of-view editing and masterful casting. Who could help but identify with Robert Walker’s Bruno Anthony in <i style="mso-bidi-font-style: normal;">Strangers on a Train</i> as he struggles to retrieve a lighter from a drain so that he can plant it as false evidence? Who doesn't share the nervousness of Anthony Perkins’s Norman Bates in <i style="mso-bidi-font-style: normal;">Psycho </i>as he waits for a car to sink after he’s pushed it into a swamp? <br /><div class="MsoNormal"><br /></div><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Woody Allen was elated with <i>Match Point </i>and was widely quoted at the time of its release in 2005 that he considered it his best film to date. Everything had come together, he said, and the production had been blessed with luck. Every actor exceeded his expectations, there was no trouble gaining access to desired locations and even the weather cooperated. He reflected that the storyline lent itself to the film medium and he’d been able to take advantage of that, focusing on action as much as dialogue. The movie, best described as a “moral thriller,” was his first successful drama and reinvigorated his career. Allen’s screenplay was nominated for an Oscar and Jonathan Rhys Meyers was awarded the Chopard Trophy at Cannes.</span></span><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQOL6IHJ0NTX2F3qAzyslae25Hj15HoUtQUsU9nrcKarhXkvM-H_-8l2msWJmH3U_wPb3-nbfhnyCy2R5oAOE2pGXgu7g6SbTwdk2Tvscf83K3sp58aqhSJEECyWWAjHFbCJ-VMbF49-QP/s1600/woody+and+his+blonde.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQOL6IHJ0NTX2F3qAzyslae25Hj15HoUtQUsU9nrcKarhXkvM-H_-8l2msWJmH3U_wPb3-nbfhnyCy2R5oAOE2pGXgu7g6SbTwdk2Tvscf83K3sp58aqhSJEECyWWAjHFbCJ-VMbF49-QP/s320/woody+and+his+blonde.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Filming <i>Match Point</i>: Scarlett Johansson and Woody Allen on the set</td></tr></tbody></table><br /><div style="text-align: center;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">~</span></span></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><u><b>Sources</b></u>:</span></span><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><i>Conversations with Woody Allen</i> by Eric Lax, Knopf (2007)</span></span><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><i>Woody Allen: cinema's great experimentalist</i> by Michael Newton<i>, The Guardian</i>, January 13, 2012 (quote only)</span></span></div></div>

Alfred Hitchcock Blackmail Dial M for Murder Jonathan Rhys Meyers Match Point Notorious Psycho Scarlett Johansson Shadow of a Doubt Strangers on a Train The Lady Eve (author) Vertigo Woody Allen Woody Allen, Master of Suspense?

This post is my contribution to The Best Hitchcock Films Hitchcock Never Made blogathon hosted by Tales of the Easily Distracted and Classic...

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