After finding out that her boyfriend is cheating on her, Elizabeth (Norah Jones) takes refuge in a small
At the bar, she crosses paths with a sad drunk named Arnie (David Strathairn) who is a cop during the day. Arnie comes to the bar every night and announces that this is his last night of drinking. He too is harboring heartbreak – separated from his wife Sue Lynne (Rachel Weisz). They have a mercurial relationship at best.
Sadly, there is no real chemistry between Norah Jones and Jude Law. It feels like Jones is just saying her lines and not living them. There is no emotional depth to her performance as she tries too hard to act and it shows. In addition, Law is simply not believable as a working class cafe owner. Rachel Weisz also seems miscast, like she’s trying out for a boozy, foul-mouthed role in a production of Who’s Afraid of Virginia Woolf? (1966) and vamps it up way too self-consciously. Wong’s weakness is his absolute need to cast beautifully looking people in his films and in this case it is the film’s fatal flaw. On a positive note, Natalie Portman is well cast a smooth talking con artist and the only one (aside from David Strathairn) who looks comfortable in her role. With her curly, light brown hair and brash demeanor, she reminds one of Karen Mok in Wong’s Fallen Angels (1995).
Like Wim Wenders before him, Wong has created a road movie about
However, all of this gorgeous imagery is wasted on a miscast film. My Blueberry Nights would most definitely work better with the dialogue turned off and Ry Cooder’s score and the various songs taking over. Wong’s casting for this film was clearly lost in translation and constantly takes one out of the film. This is shockingly unusual as his films are normally perfectly cast. While it is definitely not the worst film ever made it is a low point for Wong only because he has set the bar so high in the past.
“The Making of My Blueberry Nights” is your standard promotional featurette. Wong says that the film is based on a short film he made years ago and when he met Norah Jones in
“Q&A with Director Wong Kar Wai” was recorded at the Museum of the Moving Image in
Finally, there are “Still Galleries” with evocative location scout snapshots and publicity photographs.