Art imitates life as Allen/Farrow relationship dissolves onscreen (and off) and Woody becomes involved with young student. Mature, penetrating look at modern pair bonding and loneliness offers more painful honesty and sadness than outright laughs, though still retains essential Allen charm. Stylistically burdened by experiment with pseudo-documentary telling of tale and spasmodic hand-held cameras that annoy more than entertain. Excellent, intriguing cast, notably Davis as the overwhelming, overbearing wife/friend. Trailers became unintentionally funny in light of the highly publicized personal problems of Allen and Farrow.
This is Allen's supreme achievement. He has told interviewers he doesn't think he's done anything that ranks "up there" with Bergman - but he's wrong. This is the one "serious" Woody Allen film that works: it has its humorous moments, but it's a brilliant exploration of two marriages, breakups, and all the rest of that territory. All the acting is solid (for the first time, the "Woody Allen" character is not hyper) and the pseudo-docudrama cinematography is riveting. Even the signature Allen "upturn" at the end is done with subtlety and style: the main character has outgrown the "kamikaze woman" syndrome he's suffered from, and he doesn't even realize it. Four bones, kibble, a diamond-studded collar, and two extra walks in the park per day.