Scoop (2006 film)

Infobox_Film| name = Scoop


caption = Promotional Poster
amg_id =
imdb_id = 0457513
producer = Letty Aronson
Gareth Wiley
director = Woody Allen
writer = Woody Allen
starring = Scarlett Johansson
Hugh Jackman
Woody Allen
Ian McShane
music = Edvard Grieg
Johann Strauss Jr.
Piotr Tchaikovsky
cinematography = Remi Adefarasin
editing = Alisa Lepselter
distributor = Focus Features
released = July 28, 2006
(limited)

runtime = 96 min.
language = English
budget = US $4 million (IMDb estimate) [ [http://imdb.com/title/tt0457513/business Business Data for "Scoop"] from IMDb] "Scoop" is a 2006 romantic comedy/murder mystery written and directed by Woody Allen and starring Hugh Jackman, Scarlett Johansson, Ian McShane, and Allen himself. Focus Features released the film, which was rated PG-13 by the MPAA for "some sexual content."

Overview

Plot

The film opens at the memorial service for irrepressible investigative reporter Joe Strombel (McShane). Meanwhile, Strombel's spirit finds himself on the barge of death with several others, including a young woman who believes she was poisoned by her employer, Peter Lyman (Jackman). The woman tells Strombel she thinks Lyman, a handsome British aristocrat with political ambitions, may be the Tarot Card Killer, a notorious serial killer of prostitutes, and that he killed her when she stumbled onto his secret. The Tarot Card Killer left a card on each dead body after each murder.

The scene then shifts to Sondra Pransky (Johansson), a beautiful but somewhat awkward American college journalist on vacation in London. Pransky attends a performance given by magician Sid Waterman (Allen), aka "The Great Splendini," and agrees to participate on the stage. While in a booth known as The Dematerializer, Pransky encounters Strombel's ghost who has escaped the Grim Reaper himself to impart his suspicions of Lyman to a journalist who can investigate the story (a scene influenced by a similar scene in Federico Fellini’s "Nights of Cabiria", where when Cabiria (Giulietta Masina) is about to expose a stage magician as a fraud, he performs actual magic). Sondra decides to infiltrate Lyman's privileged world and find out if he truly is the dreaded criminal, enlisting Sid in the process and taking advantage of his powers of deception.

Sondra catches Lyman's attention by pretending to drown near him at a swimming pool. When he rescues her, she introduces herself as Jade Spence, daughter of a wealthy oil family from Palm Beach. While Sid poses as her father, "Jade" begins dating Lyman. As the deception begins, Sondra is convinced Lyman is the murderer while Sid finds it impossible to believe. But as the film progresses and Sondra falls in love with Lyman, she begins to trust him as well. Meanwhile, Sid becomes less sanguine about Lyman as he notices more and more inconsistencies, especially after he and Sondra find a Tarot deck hidden under a French horn in Peter's vault, a climate-controlled music room containing expensive musical instruments. Sid finally prevails upon Sondra to write a news story implicating Lyman, but the newspaper editor refuses the story because of Sondra's lack of proof. Throughout their investigations, Sid and Sondra have a relationship that is in turns friendly, paternal, and also antagonistic -- fueled largely by Sondra's annoyance that her smooth "Jade Spence" charade is being compromised by Sid's obnoxious attempts to act the part of a nouveau riche oil baron (an impression made up primarily of the same "What's your sign, darling?" schtick of "Broadway Danny Rose").

Soon thereafter, however, the police arrest the real Tarot Card Killer. Sondra, relieved that her suspicions were for naught, reveals her real name and the deception she and Sid had practiced. Lyman is surprisingly gracious, and tells Sondra he desires to keep seeing her. They plan to spend the weekend at Lyman's isolated country estate. Later, Sid (at Strombel's urging) suggests that Peter used the Tarot Card murders to cover up a murder he committed.

While Sondra and Lyman vacation in the country, Sid continues to investigate this theory. He finds that Lyman did frequent a prostitute, Betty Gibson, who was later killed, apparently by the Tarot Card Killer. Gibson is described as a "baby-faced blonde" (just like Sondra) before Peter convinced her to dye her hair, presumably to match the profile of the other Tarot victims. When Sid calls Sondra with his findings, she waves them off. Unbeknownst to her, Peter is ominously listening in on another extension.

As the film approaches its climax, Sid breaks in to Lyman's vault again, this time finding the key to Betty Gibson's flat. Meanwhile, out on a canoe in Lyman's lake, Peter confesses to Sondra that he killed Gibson to stop her blackmailing him, and he used the Tarot Card pattern to allay suspicion, just as Strombol had told Sid. Peter comments on the irony that he first met Sondra by saving her from drowning, and now she really would drown. He would kill Sid later; no one would connect an obscure stage magician's death to that of a clumsy journalism student. This scene is intercut with shots of Sid driving madly to the Lyman estate to rescue Sondra, a shot interrupted by an off camera crash.

After his confession, Peter throws Sondra into the lake and watches her go under. He then calls the police. When they question him, he tells them of how Sondra was a terrible swimmer and how she almost drowned that first day at the pool. Suddenly, Sondra enters, soaking wet but smiling cheerfully. She informs Peter and the police that the drowning had been an act to get his attention, and actually she was a very good swimmer.

The penultimate scene of the film takes place back in the newspaper offices. The editor who previously rejected Sondra's article now congratulates Sondra on a brilliant piece of investigative journalism, the start of a promising career. Sondra is flattered, and says she must also credit Joe Strombel and the late Sid Waterman, Splendini. The final scene is of the film shows Sid, now himself a passenger on the Reaper's ship, performing the same magical gags and comedy routines he did in life for his fellow spirits.

Taglines

* The Perfect Man. The Perfect Story. The Perfect Murder.
* He's dashing, dapper, and possibly deadly. Two out of three ain't bad.

Cast

* Scarlett Johansson as Sondra Pransky
* Woody Allen as Sid Waterman
* Hugh Jackman as Peter Lyman
* Ian McShane as Joe Strombel
* Charles Dance as Mr. Malcom
* Romola Garai as Vivian
* Kevin R. McNally as Mike Tinsley
* Julian Glover as Lord Lyman
* Victoria Hamilton as Jan
* Fenella Woolgar as Jane Cook

Critical reception

The film received generally poor reviews from critics. As of January 21, 2008, the review aggregator Rotten Tomatoes reported that the film received 37 percent positive reviews, based on 132 reviews. [cite web|url=http://www.rottentomatoes.com/m/scoop/ |title=Scoop - Movie Reviews, Trailers, Pictures - Rotten Tomatoes |accessdate=2008-01-21 |publisher=Rotten Tomatoes] Metacritic reported the film had an average score of 48 out of 100, based on 35 reviews. [cite web|url=http://www.metacritic.com/film/titles/scoop |title=Scoop (2006): Reviews |accessdate=2008-01-21 |publisher=Metacritic] On IMDb, it has a score of 6.8 out of 10.

Stephen Hunter, of "The Washington Post" called it the "worst movie Woody Allen has ever made"::Basically the movie decodes into a Hardy Boys-level mystery. It's not, of course, that comedies must display documentary realism on this sort of thing. You forgive anything in a movie if it's funny. "Scoop" is never funny enough — except for the odd, whiny Allen gibe, mainly because it recalls better days — to achieve this dispensation; the lack of realism becomes a crippling attribute. This gives nobody, least of all me, any pleasure, but a truth must be faced: "Scoop" is the worst movie Woody Allen has ever made. [ [http://www.washingtonpost.com/wp-dyn/content/article/2006/07/27/AR2006072700447.html "Scoop": Just Kill the Story] , a review by Stephen Hunter for "The Washington Post"]

At the other extreme, Mick LaSalle of the "San Francisco Chronicle", who also gave positive reviews to Allen's "Melinda and Melinda", called it "the funniest movie of the year so far" and Allen's funniest film in a decade. He also said:

:"Scoop" has something "Match Point" didn't, something that none of Allen's films have had to quite this degree in 10 years. It's really, really funny. Not funny "heh-heh," but laugh-out-loud funny. Funny like you walk out wanting to tell your friends its best lines. Funny like you're walking down the street and remember a moment and start laughing like an idiot. Woody Allen has written himself an ideal role, creating a character and a situation that result in a continuous stream of winning bits. And he's paired himself with a partner in Scarlett Johansson who brings deftness and freshness to Allen's familiar comic universe. [ [http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2006/07/28/DDGG5K5KIL1.DTL "Scoop" is Allen's funniest film in years] , a review by Mick LaSalle for the "San Francisco Chronicle"]

Manohla Dargis of "The New York Times" called it "not especially funny yet oddly appealing"::Mr. Allen doesn’t seem to be working terribly hard in "Scoop", and while that makes for some apparent goofs and lots of ragged edges, it gives the whole thing a pleasantly carefree vibe. After the first 20 or so clunky minutes, the film settles into a groove and then, ever so slightly, deepens. Mr. Allen’s invocation of the "Thin Man" films in an interview makes sense, even if he’s no William Powell and Ms. Johansson is certainly no Myrna Loy. "Scoop" was made by someone who understands that what makes the “Thin Man” series enduring isn’t whodunit and why, but the way Nick and Nora look at each other as they sip their martinis, Asta nipping at their heels. [ [http://movies2.nytimes.com/2006/07/28/movies/28scoo.html?ref=arts "Scoop": Shades of Nick and Nora, With Woody Allen’s Shtick] , a review by
Manohla Dargis for "The New York Times"]

Ty Burr of "The Boston Globe" called it "fluffy, fatally implausible farce"::You can assume this kind of humor goes over well with the Europeans who are the director's financial backers and primary audience these days. Like Charlie Chaplin in his final years, Allen has found refuge in exile, far from the US audiences who have turned their backs on him (because we're lowbrow slobs or because his movie have stopped being very good; your call). When we see him onstage as The Great Splendini, Allen even eerily resembles Chaplin in "Limelight," shyly smiling out at the audience with the comedian's eternal hope of unconditional love. Does he see anything besides the beautiful young woman and himself? Sweet and woebegone, "Scoop" says no. [ [http://www.boston.com/movies/display?display=movie&id=9089 "Scoop": Allen's 'Scoop' is fatally fluffy] , a review by
Ty Burr for "The Boston Globe"]

Box office

"Scoop" opened in 538 American theatres on July 28, 2006. In its first three days, it grossed $3,046,924 for a per-theatre-average of $5,663. "Box Office Mojo" listed its opening as the biggest limited release premiere of 2006. [ [http://www.boxofficemojo.com/movies/?id=scoop.htm Box Office Mojo report on "Scoop"] ] By the time the film's domestic run had ended on September 28, 2006, it grossed $10,525,717 in the U.S. and $39,212,510 worldwide. [mojo title|id=scoop|title=Scoop] The film had a $4 million budget, not including prints and advertising expense.

Production

* As is often the case with films by Woody Allen, no original score is used. Most of the music pieces heard in the film are ones composed by Pyotr Ilyich Tchaikovsky, Johann Strauss Jr., and Edvard Grieg.
*The lead character (originally an adult journalist) was tailored specifically to Johansson, whom Allen observed as having an unused "funny" quality about her while working on the previous film, "Match Point".Fact|date=February 2007
* The film is the second of Allen's films (the other being "Hollywood Ending") not to have a UK theatrical release.

References

External links

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