It's amiable enough but there's nothing on show to make it stand out from the average rom-com.
Puccini for Beginners (2007)
Tomatometer
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Reviews Counted:60
Fresh:30
Rotten:30
Average Rating:5.7/10
Consensus: A Woody Allen-ish film that needs more of the caustic wit expected from the best New York rom coms.
Runtime: 90 mins
Genre: Comedies
Synopsis: Everyone is love-crazed in Maria Maggenti's delightfully quick-witted screwball comedy, Puccini for Beginners; but Allegra Castiglione–our dashing, adorable heroine–is by far the most commitment... Everyone is love-crazed in Maria Maggenti's delightfully quick-witted screwball comedy, Puccini for Beginners; but Allegra Castiglione–our dashing, adorable heroine–is by far the most commitment phobic. Her lesbian lover dumped her because she couldn't settle down and say "I love you." And just as she's drowning her sorrows in a giant slice of Camembert, in walks Philip, a dapper Columbia professor who, against her better judgment, lights her fire. Kicking and screaming, she launches an affair with–heaven forbid–a man! Meanwhile, she falls into bed with irresistibly gorgeous Grace, a recently single, straight woman, of all things. While juggling two romances that are advancing way too quickly for comfort, Allegra lands in hot water that boils over into an explosive, cathartic climax for all. Waltzing beyond the coming-out stories of a decade ago, Maggenti playfully ushers in a new era of lesbian cinema free from an ideological agenda. Here sexuality is fluid and unapologetic, while gender identity and politics are hotly debated–and even poked fun at–rather than narrowly defined. Smart, snappy dialogue and effortlessly charming performances by Elizabeth Reaser, Justin Kirk, and Gretchen Mol make this triangular tale soar. Like an accomplice, a glistening New York City operates as an enchanting cosmopolitan village, where chance meetings alter destinies and anything is possible. --© Sundance Film Festival [More]
Starring: Elizabeth Reaser, Gretchen Mol, Justin Kirk, Jennifer Dundas
Starring: Elizabeth Reaser, Gretchen Mol, Justin Kirk, Jennifer Dundas, Julianne Nicholson
Director: Maria Maggenti
Director: Maria Maggenti
Studio: Strand Releasing
Reviews for Puccini for Beginners
Puccini for Beginners doesn't quite make it as romantic comedy. Most of the elements are in place, but the characters seem too narcissistic to fall in love and too broad-brush to be authentic.
Fresh Manhattan locations prove as photogenic as the leads, and the supporting actors -- especially Tina Benko as a glacial, impeccably dressed amazon -- don't miss a beat of Maggenti's snappy dialogue.
A number of scenes in the film are charming and engaging, with a genuinely unforced lightheartedness, and that takes more than a little expertise on the part of Ms. Maggenti, as well as her cast and other collaborators.
[Director] Maggenti offers a cute variation on the classic Hollywood 'comedy of remarriage.'
Puccini is the joyously refreshing romancer that it tries so hard to be. Its success has a lot to do with its casting directors who have peopled both the major and minor roles with aplomb. Even off-off-Broadway legend Helen Hanft has a cameo.
Proving that a movie called Puccini For Beginners actually can be as deeply pretentious as its title implies, Puccini For Beginners attempts to pick up the torch once carried by Woody Allen for the romantic comedy of ideas.
If you're willing to veer away from your more traditional romantic comedies, this is worth watching.
I felt at times I was watching a melange of 'Scrubs', 'Sex in the City', and the sensational Ethan Hawke/Julie Delpy tandem of 'Before Sunrise' and 'Before Sunset'.
Writer-director Maggenti knows her way around snappy, sophisticated dialogue.
It's no fun to sit through the movie's retread Woody Allenisms, including postmodern repartee among the self-absorbed or giddily neurotic and passing strangers suddenly given to ironic Greek chorus-like commentary.
A Woody Allen devotee, writer-director Maria Maggenti hawks an insular view of New York City where poverty doesn't exist to illuminate the grotesque solipsism of her characters.
Light and fluffy but inconsequential, Maggenti's second feature in a decade is a pale imitation of Woody Allen's romantic comedies, except that the lead is a lesbian, no bi-sexual, no just confused (whatever, choose one).
Perhaps more problematic than the film's derivative nature -- with plot points and dialogue borrowing somewhat from Sex and the City and rather heavily from Woody Allen -- is the fact that the film is just not funny.
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