A stroke of luck – Coup de Chance, the review of Woody Allen’s Parisian film

It’s been around since the masterpiece that it is Match Points that Woody Allen teaches us how indifferent the universe is to our destinies. As unfortunate human beings we have to accept the blows of outrageous fortune, like Prince Hamlet, and hope that everything goes well, And in Coup de Chance, film presented out of competition at the 80th Venice Film Festival, the brilliant American filmmaker reiterates the concept with his usual style and unparalleled irony. And then the little gem Midnight in Paris, Allen returns to the City of Light with a delicious and wicked thriller-tinged comedy entirely shot in French. The film arrives in Italian cinemas starting from Wednesday 6 December

Coup de Chancethe plot of the movie

Woody Allen’s fiftieth film opens with the usual and elegant white opening credits on a black background, an authentic trademark of the director of Manhattan And Me and Annie. Jean (Melvil Poupaud) and Fanny (Lou de Laâge) are a married couple, very wealthy and apparently perfect. Her husband is a determined businessman, convinced that he is never sexy and rich enough. His wife, fresh from a failing marriage with a toxic musician, found security and stability in that resolute and strong-willed successful manager. Having placed her dream, her artistic tendencies and her rebellious nature in the wardrobe, the woman works in a luxurious auction house. However, a lucky meeting with a former schoolmate, writer and penniless bohemian, shuffles the cards. Fanny rediscovers adolescent passions that she thought were dormant. Perhaps she is tired of spending weekends in the pharaonic country villa, of the futile chatter consumed in starred restaurants, of prohibitively priced bottles of Bordeaux and above all of having turned into a trophy wife. Except that Jean is not at all willing to allow his wife to change her life and, above all, her husband.

Coupe de Chancebetween luck and suspicion

If to the great Alfred Hitchcock in The suspect, a glass of illuminated milk was enough to disturb the spectator, Woody Allen just a piece of gossip is enough to generate in the public the doubt that that business man, passionate collector of Marklin designer electric trains, is accustomed to crime and even murder. On the other hand, it is known that in Allen’s films the characters who believe they are the sole and often creators of their own destiny often turn out to be certified scoundrels or worse. But the magnitude of Coup de Chance lies in telling this story with the frugal richness typical of the most successful sophisticated comedies. A film as sweet as certain champagnes bottled by small producers. At the first sip they are light but at the end they have a persistent taste that is not forgotten.

You never know what in the world can happen to you

Three-time Oscar winner director of photography Vittorio Storaro returns to work with Allen for the fifth time. And as usual the light is transfigured into a sort of character in the film. In Coup de Chance orEvery neighborhood, every situation has its own color, its own nuance. And this time, to pay homage to the transalpine cinematography of the 1950s, especially to Louis Malle’s unparalleled Elevator to the Gallows, Woody chose a soundtrack that harks back to Miles Davis’ Jazz, instead of the much-loved Dixieland genre. A small but significant variation, which makes the film even more fragrant like a freshly baked brioche. In short, a work to be enjoyed, a bit like life which is always short and unpredictable. Because, to quote i Maître à thinker Cochi and Renato: “You never know what in the world can happen to us.”