Jim Belushi Kate Winslet Juno Temple Justin Timberlake
Wonder
Wheel is classic Woody Allen, even to one of the characters taking on his
persona (a common motif in his films).
It’s his typical family drama in which relationships are tested and
sometimes remain intact and sometimes not. Humpty (intended reference to Humpy Dumpty?), played by Jim
Belushi is somewhat down and out, but is managing to squeek by as a mechanic at
the Coney Island Amusement Park.
He’s married to one of the waitresses at a clam shack, Ginny (Winslet),
a chronically disappointed (with everyone and everything) woman who often
appears to be doing her best, but consistently freaks out and has
migraines. One big problem is her
son from her first marriage, a budding arsonist—which doesn’t bode at all well
for his future.
Ginny feels trapped in her marriage to Humpty,
whom she has managed to wean off alcohol, but is bored with, and has become
involved with the lifeguard Mickey (Timberlake). But everyone has to go into emergency mode when Humpty’s
enchanting daughter Caroline (Temple) appears at the door one day. Her father disowned her after she
married a mobster against his advice, but now she is desperate with no place to
go (her mother died), begging her father to take her in. She appears to be very sincere in
recognizing her mistakes of the past, and genuinely tries to make positive
changes, helping Ginny in the restaurant (making some mistakes along the way) and
taking classes. Her father is
overjoyed that she has seen the error of her ways and wants to help her
continue with her education. But
tension stays high, as we learn that her ex-husband’s cronies are looking for
her because she “knows where the bodies are buried.” So her life is in danger.
Then fate seems to do its work, along with
coincidences and human weaknesses.
Conflict heightens when no one seems to “get” Ginny; her husband,
Mickey, and Caroline all misunderstand her in very different ways—none of them
seeming to know what to do as they gain insight into her past and present
experience. It becomes a chaotic
Woody Allen scenario.
The four main characters fit their roles
hand-in-glove. Belushi knows very
well how to play the underdog man who has had to fight for everything he has,
but isn’t the brightest bulb in the room.
Winslet is extraordinary in portraying a woman deeply disturbed who
somehow manages to cope outwardly with everyday practical issues. It’s just in the emotional areas she
shows bewilderment and even hysteria, and her judgment falters. Timberlake manages to pull off the man
you both admire and become impatient with, depending on the situation. He shows the character’s great efforts
in being open and honest and still being oblivious to its consequences. Juno Temple as the blonde, sexy, young
Caroline, balances out her appearance with thoughtful consideration of those
around her, and has clearly learned from her mistakes. She is the most interesting character,
showing adaptability to change and the only one not blaming others for her
mistakes.
The production is weakened by 1) appearing too
“stagey” at times (you could swear you’re watching a play); 2) including the
part about Ginny’s son withD psychological problems (which doesn’t seem to fit
in the story and is left completely unresolved); and 3) by replaying standard
Allen themes. I though it ironic
when Ginny, starting to feel suspicious, grills Caroline about whether Mickey
took her hand, touched her, or kissed her. She is obviously over-reacting, but
in view of the current news stories about powerful men preying on younger
women, it’s an odd thing to include in a current film. Because of Allen’s own family
situation, one wonders upon whom he is basing the Ginny character.
On a more positive note, the music—which I
assume are jazzman Woody’s selections—captures so well the mood of each scene,
especially the views of the amusement park and the merry-go-round. The music merges with the story and
lifts the movement of each scene.
Cinematographer Vittorio Stararo’s camera and palette elevate the
production artistically.
A classic Woody Allen
production.
