Review: Vicky Cristina Barcelona

Contrary to the belief caused by the naive, in-the-moment nature of humans today, love and romance are two very separate and exclusive ideas. VCB, Woody Allen’s first worthwhile film in as long as someone my age can remember, is a testament to this. Moving on from Allen’s fixation on London (the setting for his last 3 features), the focus shifts to the balmy and undeniably sexy climate of Barcelona, the very mention of which from a Spanish mouth is enough to make any female with a pulse jump in to bed. Okay, maybe I exaggerated a little.

VCB essentially centers around 2 characters, Vicky and Cristina, encapsulated by one entity, Barcelona, geddit? Vicky (Rebecca Hall) is the ever-classic Woody Allen character in the film. Forever skeptical of Juan Antonio (Javier Bardem)’s unabashed attempts to bed her and her friend, Cristina (Scarlett Johansson). The pair have travelled from America to Barcelona for the summer. As the opening narration indicates, the pair hold two very different attitudes towards love and romance. And this is where the difference between those two ideas comes in.

In a perfect world, romance precedes love. One leads to the other. VCB doesn’t tolerate the idea for one second. There’s romance EVERYWHERE in this film, but no love. At the same time, short, passionate romances can be stronger than love in any case. As the plot progresses, it’s clear how little chemistry those within the film would claim to be in love have with each other, as soon as Juan Antonio shares the screen with them. At the start of the film, Vicky is engaged and unashamedly attempts to humiliate Juan Antonio’s advances. However, things move on and, after a series of events far too delightful to divulge in writing, Vicky and Juan Antonio find themselves together for the evening. It’s here we discover maybe love isn’t as strong and as defined a notion as we perceive. All it takes is one smooth-talking Spanish artist to make the frostiest of women doubt their future in matrimony.

As much as I’d like to review the film further, it’s essential the unfolding, break-down and building of the relationships here are viewed as spontaneously as possible. I hate spoilers. Let it be known, however that the film’s wonder isn’t nearly reached until about two-thrids of the way in when Juan Antonio’s ex-wife, María Elena (Penélope Cruz) turns up, fresh from a suicide attempt.

The plot is unimportant next to this witty, charming and undeniably wise script. A testament to the fact even the proudest and most stubborn people in this world can learn to appreciate obscurity and individuality when they open their minds and appreciate. There’s also lessons to be learned from Juan Antonio himself. Anyone who saw No Country For Old Men will (hardly) recognise him as the almost-mute serial killer. Here, however his bohemian charm is firing on all cylinders as he takes plunges most people wouldn’t even dream of as he invites the two women to bed, having just met them:

Juan Antonio: I go to see a sculpture, that is very inspiring to me. A very beautiful sculpture. You will love it.

Vicky: Oh, right. you're asking us to fly to Oviedo and back.

Juan Antonio: Mmmm. No, we'll spend the weekend. I mean, I'll show you around the city, and we'll eat well. We'll drink good wine. We'll make love.

Vicky: Yeah, who exactly is going to make love?

Juan Antonio: Hopefully, the three of us.

Vicky: hmm, I don’t think so

Juan Antonio: Why not? Life is short, life is dull, life is full of pain. This is a chance for something special.

VCB essentially reminds us that being human isn’t nearly normal as we’ve been led to think. Taken out of our element, human nature warps into something at first unnerving before we realise perhaps, maybe things were weird to begin with. Woody Allen hasn’t just returned to form here with this beautiful, funny, engaging film, he’s rediscovered the magic that made him a genius to begin with.

Rating: *****
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