大恐慌時代のアメリカ、ニュージャージー。とある映画に夢中になり、何度も映画館に通うセシリア。ある日、映画の中の主人公がスクリーンの中から語りかけてきて……。ウディ・アレンが奇想天外なアイディアを詰め込んだロマンティック・ファンタジー。
AIが作品の魅力を深く読み解いています
製作費: $15,000,000 (23億円)
興行収入: $10,631,333 (16億円)
推定収支: $-4,368,667 (-7億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: ウディ・アレン
脚本: ウディ・アレン
音楽: Dick Hyman
制作: Charles H. Joffe / Robert Greenhut / Jack Rollins
撮影監督: ゴードン・ウィリス
制作会社: Orion Pictures / Jack Rollins & Charles H. Joffe Productions
Initially, this reminded me a little of the scenario for “King Kong” as the impressionable young “Cecilia” (Mia Farrow) manages, not unreasonably it has to be said, to get fired from her waitressing job in 1930s New York. Despondent, she heads to the cinema to see the “The Purple Rose of Cairo” only for it’s star “Tom” (Jeff Daniels) to quite literally leap off the screen at her and soon her world is in turmoil. It’s not just her, neither. The studio is complaining that he is doing exactly the same in cinemas all over the shop. That gives “Cecilia” quite a quandary as she knows this man of her dreams cannot be real, whilst the rest of the nation wants to know what happens at the end of the movie - and without it’s star, well we can never find out! What is “Tom” going to decide, too? He is quite taken by his time amongst us non-celluloid types, but… I am not really much of a fan of Daniels, but he works well here as this comedy works on quite a few different levels. On one, it’s an out and out romantic comedy but on others it looks at the effects of the aftermath of the Great Depression, the crucial role of cinema in the lives of so many people and at just how repetitious and dreary life can be as that big screen allures! Meantime, “Tom” is given a rather too realistic glimpse of life on the other side of the reel as he encounters some of the less savoury characters from the time. It’s monochrome photography, Dick Hyman’s quirky score and a charming chemistry between an on form, flighty, Farrow and Daniels all contributes to another piece of gentle nostalgia from a Woody Allen who is very much at the top of his game and from a Stuart Wurtzel whose production design is engaging and sympathetic to the era and to the gently poignant and often quite witty dialogue. I wonder if anyone might make a real archaeological movie called “The Purple Rose of Cairo”?
