This is something it doesn't deny. At the start of the film, viewers are shown a cover of Dostoevsky's Crime and Punishment. Though the film's music also takes us back to the 19th century. It is a genuine gala of opera, featuring Verdi, Donizetti, Bizet and Rossini. He adds a twist even here, the operas are played on old 78 phonograph records. And they are also rather sinister. Well, that's not something that operas are unfamiliar with. There is a twist to the dramaturgy: the main protagonist, Chris Wilton (Jonathan Rhys Meyers), who rises from the depths of society, is the opera fan, and also reads Dostoevsky, Strindberg and Sophocles. His fiancée and then wife, Chloe (Emily Mortimer), belongs to a London family that has a rather more practical view of the world. Though we shouldn't forget the real essence of the story. Most of Woody Allen's earlier films tended to be smaller in scale: the plot unfolded through short stories, relaxed anecdotes, or at times a more tightly strung series of events. Match Point is far more of a novel. Plus the hero doesn't talk the whole way through. The love affair with Nola (Scarlett Johansson) - his almost sister-in-law - is something more than one part of a romantic ménage. Two characters - a tennis coach and an American actress who can't get a part - rise from below to end up in high society, where both are vulnerable. The whole way through, the question simmers of what makes someone lucky, and what defines our fate?

In English, with Hungarian subtitles.

The discussions before and after the screening will be conducted in Hungarian.


Presented by: Müpa Budapest