Vicky Cristina Barcelona – Film Review

Posted by Samuel Walters

Just what is the nature of love and relationships? How do we find our place within society’s expectations? And what happens when who we are is not what we are trying to be? “Vicky Cristina Barcelona” is a movie that explores these ideas with very few definitive answers, save one: You must be true to who you are as a person – and discovering who you are is vital to finding true fulfillment. On that level, “Vicky Cristina Barcelona” is profound and provocative. Add in solid performances from the principle cast as well as some beautiful cinematography, and you’ve got the makings of a fantastic film.

Before I begin, I need to make a couple of disclaimers. First, this is, in fact, the very first Woody Allen film I have ever watched (it came by way of recommendation of a good friend of mine, who mentioned it after an extensive discussion about relationships), so I have no frame of reference as far as quality of work where Allen is concerned. I say this because after some research following my viewing of the film, I’ve noticed a decidedly negative view of Allen’s more recent films. As such, this review shouldn’t be taken in context with Allen’s filmography (I literally have no idea whether or not this is a “good Woody Allen film”), rather the focus is on the film itself. Second, I cannot deny the synchronicity between my own experiences and the themes, circumstances and characters in the film. This is important because although it is my intention to write an objective review, it’s difficult to divorce my analysis from the personal connections I made while viewing it. So please, make allowances for any bias that may appear.

As the title suggests, this is the story of two twenty-something Americans, Vicky and Cristina, and their summer in Barcelona. Vicky (Rachel Hall) is (outwardly) the goal-oriented character, who has planned out her entire life. She is engaged to be married. She and her fiancé are looking for a house in New York City. Cristina (Scarlett Johansson) is the free spirit, forever looking for happiness, sure only of what she doesn’t want. On one of their first evenings in Barcelona, they meet Juan Antonio (Javier Bardem), a painter who recently divorced Maria Elena (Penelope Cruz), who is also a painter. Juan Antonio calmly approaches the dinner table and asks Vicky and Cristina to spend the weekend with him, looking at sculptures, drinking wine, and making love. Needless to say, Vicky rejects the frank offer outright. Cristina is intrigued. Cristina prevails. And so they head off to Oviedo for a fateful weekend.

What unfolds are a series of events which demonstrate a number of important ideas. Passion for life cannot be denied. Passion within oneself cannot be denied. And, ultimately, neither love nor passion can be defined by what society says – only by what the individual accepts. Eventually, Vicky is torn by the evening she spends with Juan Antonio – who subsequently stays away to avoid further complicating Vicky’s life. Vicky marries her fiancé but cannot stop wondering whether or not it was a mistake to do so. Clearly, she hasn’t been honest with herself, let alone with her new husband.

In the meantime, Juan Antonio and Cristina seem to be a better match – in terms of spirit and temperament – and they begin a fulfilling, passionate relationship before Maria Elena re-enters Juan Antonio’s life. Once she does (and after some rather awkward moments), the three of them (Juan Antonia, Cristina and Maria Elena) form a relationship of their own. And here the “scandalous” prospects of three people loving and being intimate with one another are less important than the commentary: Relationships are what you make them to be. If the three of them accept the relationship, and are fulfilled, then that is what is most important.

Of course, Cristina continues to be uncertain of what she wants and soon sours on her arrangement with Juan Antonio and Maria Elena. So she leaves — but it’s important to note that everyone accepts and appreciates what they had shared. And the experience has proved valuable. Cristina has added one more item to her list of things she doesn’t want. And, too, through Juan Antonio and Maria Elena, Cristina learns to develop her skills and talents at photography (the scene in which Maria Elena admits learning of Cristina’s talent because she rifled through Cristina’s bags is most amusing). So not only does she have the experience of a (briefly) fulfilling relationship, but she has grown more self-assured of her own talents and abilities to express the emotions within herself.

As for Vicky, she observes Cristina’s relationship from a distance, fending off the judgmental comments her newly-wed husband makes about both Cristina and her unconvential relationship. But she never stops wondering about “what might have been.” In the end, after both Cristina and Maria Elena leave Juan Antonio, Vicky decides to tempt fate. But at the moment of truth, she balk, essentially claiming that she is too scared to go through with changing her entire life. It’s an interesting moment because Vicky seems to give up not because she believes she’s making the right choice, but rather through a fear of making the right choice. It provides a fascinating commentary. Vicky may well become a “prisoner” in the life she will have with her husband, but it was one of choice. The implication is clear: You can only be a prisoner if you choose to be. Cristina chose to change her relationship with Juan Antonio and Maria Elena because she felt it was not right. Vicky chose not to change her relationship.

Where you are now, and where you will be in the future, is based solely on your choices.

As for the craft of the film, it’s fairly well-done. The narrator tends to be a bit on the dry side and may be too much of a crutch in terms of providing exposition, but the benefit is to allow the film more time to explore the emotions the characters experience. And for a film about love and passion, it makes sense to do whatever possible to allow those explorations to be has deep and as sincere as possible. The pacing is nicely balanced, never allowing the story to get bogged down, or letting it move too swiftly. Certainly the locales in Spain provide for a rich tapestry on which the story unfolds. And really, the only criticisms come from how dispensable Juan Antonio and Maria Elena are to the film. True, this is the story of Vicky and Cristina, and while both Juan Antonio and Maria Elena get prominent roles, their resolution is left so vague as to beg the question: was the fate of these two characters simply ignored? Heck, even that pesky narrator could have just added a single line to the effect that Juan Antonio and Maria Elena were left to find some measure of solace within their fiery and conflicted relationship.

Overall Grade: B

“Vicky Cristina Barcelona” is a good film. It’s the kind of story that allows viewers to explore their own emotions and choices — and to reflect upon them. My sense is that there’s very little gratuity in this film. It doesn’t feel pretentious or insincere. Rather, it’s a breezy, captivating tale that seems as honest and frank as Juan Antonio’s overtures.

Topics: Film Review
Filed under: Film

Rich, on May 28th, 2010 at 8:11 pm Said:

I feel this was a great movie which showed how relationships although are not traditional can work. The threesome between Christina , Marie Elana and Juan Antonio functions with a steady balance when they start supporting each other in various roles. I think the landscape of Barcelona is beautiful and brings about a mood to the film of Romance. The performances by all four main characters are outstanding. This piece allows Penelope Cruz to shine as a sometimes hostile and volatile female character. I give it a B+.