Liv Ullman, Bibi Andersson, Erland Josephson, Max von Sydow and Bergman were the very definition of synergy. It’s almost like a cult. One I would have taken the Kool-aid to be a part of. The crew made watching his films so much more exciting. And when I finally reached Fanny and Alexander, it was basically my wet dream to have them all in one picture, one last time. All except von Sydow, that is, but that wasn’t his fault.

There are other classic pairings as well. Michelangelo Antonioni claimed the insanely hot Monica Vitti as his muse. He put her in several of her movies, including La Notte, L’avventura, and L’eclisse. I’m not a huge disciple of Antonioni’s, but I can still see the how the chemistry between the two added to the cinematic magic.  Perhaps Guilietta Masina could be considered Federico Fellini’s leading lady?

This enigmatic pairing happens today as well.  Obviously.  Sometimes it’s freaking bitchin’.  Sometimes it’s definitely not.

One of my favorites is Quentin Tarantino and Uma Thurman.  Sure, they’ve only done three films together.  But look at them: Pulp Fiction, Kill Bill vol. 1 and vol. 2.  If you need proof of the power of that relationship, watch any other film Uma Thurman has done.  She is simply not a leading lady, unless she has Tarantino behind the camera.  Then, she can fill a screen up like few other women in action roles can.

Or how about Mr. Wes Anderson, and Bill Murray.  Of the six feature length films that Anderson has directed, Murray has played large roles in five of them.  The only exception being Bottle Rocket.  And all but one of the five films are real winners.  It seems the two have a similar sense of humor that serves them well as filmmakers.

There are most definitely a few directors and actors that should go their own seperate ways.  One good film together, does not a successful pairing make.  I’ll give Tony Scott and Denzel Washington Man on Fire.  It’s a solid revenge flick that makes me care about Dakota Fanning every time I watch it.  After this success, the two decided to work together again.  And again.  The two put out the mediocre The Taking of Pelham 1 2 3, and the less than mediocre Deja Vu.  Their forth project together see them on a train, with no breaks.  Co-starring Chris Pine.  How did this team go so wrong?

And let’s not forget Tony’s brother, and his unfortunate muse, the tool from Down Under, Russell Crowe.  They started out with the mildly good Gladiator, and decided to keep working together.  Sadly, the quality of the films these two put out got progressively worse.  Robin Hood, Body of Lies, American Gangster.  Yeesh.

Regardless of the quality of work produced by this sort relationship, it is one of the most fascinating in the world of filmmaking.  No other association seems to produce the sort of creative results we see through this bond.

What are some of your favorite director/muse pairings? And better yet, whom do you wish would get together to produce some really great film?

The problem isn’t in the performances which are remarkable.  Penelope Cruz plays Consuela, a remarkably beautiful (does she ever play anyone that isn’t remarkably beautiful?), disarming MFA student at an unnamed, but prestigious university.  After taking a class from the extremely intelligent David (Ben Kingsley), the two enter in to a relationship that can’t be called sordid, but defies definition.  Both have their concerns.  David is thirty something years her elder.  He fears she’ll leave him for someone better, someone younger.  Dennis Hopper plays George, David’s Pultizer prize-winning friend and confidant.  He hardly has the credentials to give advice on relationships, spending most of his adult life cheating on his wife.  David has chosen the single life to keep his independence, to keep things simple.  But everything becomes complicated when he realizes Consuela means more to him than he’d like to admit.

David narrates much of the film, frankly discussing his sexual desires, his fear of commitment, not once trying to hide his sexism, or his brutal honesty.  The sadness is found in much of the story, but mostly in David’s character.  He’s in his sixties, accomplished academically, but unable to really bond with anyone (an unfortunately overstated side plot with David’s son, played by Peter Sarsgaard, shoves this notion in the viewers face).  Nicholas Meyer did a tremendous job adapting the novel by Philip Roth (called The Dying Animal), but at times, it seems like Roth (already in his seventies) was writing about wish fulfillment, romanticizing things a tad too much–the beautiful, almost perfect, young woman finding love in a much, much older man.  Despite these slight flaws, director Isabel Coixet (The Secret Life of Words) deserves the highest praise for taking this story and matching it to the perfect tone.  It’s not melodramatic, it just is, and that’s hard to find now days when most ‘art films’ are taking themselves too seriously.  No, it’s not a perfect film, but Elegy is accomplished and mature, and will move you more than you expect.

3 out of 4 stars

A European friend of mine once told me that if I watched an Almodovar film, even if I hadn’t been to Spain, I’d feel like I had. I don’t know if that’s necessarily true, but I do know that I feel like I’ve been there now after watching Vicky. Or at least, I saw the the Spain that every American wishes existed. The film follows BFFs Vicky (Rebecca Hall) and Cristina (Scarlett Johansson) as they spend their summer in Barcelona. Both are frustrated artists at heart (but mostly they’re just pretentious as hell).  After a chance encounter with a Spanish artist, Juan Antonio (Javier Bardem), the three go away for a weekend of lovemaking.  Although Juan is quite clear about his intentions, both girls pretend they’re going to experience a different part of Spain (and I’m not taking about Juan’s part). Things are quickly complicated by the fact Vicky is engaged to be married, and Cristina had food poisoning. Then enters Juan’s ex-wife, the tortured soul: Maria Elena (Penelope Cruz).  Sound like French New Wave?  While it’s not the definition of the style, the love triangles, and the matter-of-fact narration (which I fell in love with) is New Wave as Allen has ever been.

This goes without saying, but the cast is so talented, it makes you feel like the film is sort of selfish, hoarding all this talent.  It’s a pleasure to see Bardem perform in such a different environment then that of No Country For Old Men, although I did keep waiting for him to kill someone.  Patricia Clarkson and Johansson are reliable, as always and were a pleasure to watch, but I think the real stars of the show are Rebecca Hall and Penelope Cruz, both of whom act the hell out of the parts (in a good way).

Allen denied himself some of the ridiculous self-indulgences he’s allowed himself in the past, like his off-pitch improv antics in 2006′s Scoop (also starring Johansson), or 2007′s Cassandra’s Dream which was weighed down by pointless, boring dialogue. Vicky is a tight, quickpaced, sensual (without being erotic) good time that will leave you endlessly entertained.

4 out of 4 stars

Rottentomatoes: 81% – Cream of the Crop: 85%

Rated PG-13 for mature thematic material involving sexuality, and smoking.