A mere shadow of its conceptual predecessor Zelig (in the Allen film typology), Sweet and Lowdown is proof that the mockumentary method is not a guarantee for a successful plot. For one - and despite an honest acting performance - it's very, very tedious having to watch Sean Penn playing guitar and suspend your disbelief, especially when even a side character like the bass guitar player acts like he's never even seen an instrument before. Something's gone terribly wrong with the story as well; from the onset, you're left wondering where it's heading at. Meek puns are badly delivered and poor dialogues try hard to be funny; Uma Thurman's overblown performance is just one example here. Generally speaking, you get the feeling that not much time was wasted on character design, which is all the more problematic as the entire film hinges on one central figure. Of all things, the comments are redundant and spoil much of the potential fun. Worst of all, an off-screen character comment (inner dialogue) pops out of nowhere near the end of the film, making you wonder what went wrong in the story design that had to be somehow recovered in the editing. Amateurish, to say the least. Of course, like so many Allen movies, this one has also quite a few things coming its way, most notably set design and image. And unlike his cheaper flicks, we're awarded a string of atmospheric exterior location shots. But in the end, it simply doesn't add up. You just don't make an entire movie on a one-sided caricature of a character. And it certainly looks like Allen couldn't make up his mind on the genre of film he wanted to make. Just as Emmet Ray is second to Django Reinhardt, this Woody Allen doesn't live up to himself.
Review of Sweet and Lowdown
