Writing off “Match Point” as a typical Woody Allen comedy is akin to asserting that the dreariness of the first 20 minutes is indicative of the entire edgy, clever film. The story unfolds like a BBC melodrama: A struggling outsider — in this case, former tennis pro Chris Wilton (Jonathan Rhys-Meyers) — gets a job working for the British aristocracy, teaching tennis lessons at an uppity country club and subsequently, with the help of an acquaintance Tom Hewett (Matthew Goode), climbs the social ladder. But there is no reason to fret; the hackneyed premise quickly receives a jolt and morphs into an involved, gripping study of faith, luck, love, lust, adultery, betrayal, consequence, crime and conscience.
Was it good for you?: In “Match Point,” Jonathan Rhys-Meyers plays a social climbing Irishman who has a passionate affair with his brother-in-law’s fiancee (Scarlett Johansson).
As Chris establishes a kinship with Tom and, in time, marries Tom’s sister Chloe (Emily Mortimer), he secures for himself a life of comfort, luxury and rather monotonous stability. At the same time, the unexpected happens when Chris meets Tom’s fiancee Nola Rice (Scarlett Johansson). Instant infatuation seems too feeble an expression to describe the magnetism generated by the twosome during their nuanced power play — a subliminally erotic conversation and a game of ping pong. The apparent complication pumps the staggering storyline with a much-needed shot of adrenaline, and the rest of the film operates at an engulfing, quick-paced strut.
At its core, “Match Point” is an operatic tragedy — with impeccably timed operatic compositions — grounded to a perceptible, realistic level by stark cinematography, insightful character development and natural acting. Rhys-Meyers’ androgynous physicality automatically arms him with a crucial deceitful quality. He takes a bit of time to settle into his role, but eventually, he succeeds in preserving that narrow middle boundary — not making the character too detestable or too pitiful. His portrayal of Chris’ emotional torment and his moral breakdown is surprising. Johansson effortlessly exudes Nola’s inherent sexuality, as well as her masked desperation. Goode is charming as a chivalrous playboy from an affluent family, and Mortimer beautifully fills the thankless role of the intelligent, nice girl who is fatefully plain and unexciting, but genuinely compassionate.
The film goes through a series of twists, and becomes a rather cynical exploration of the way faith and luck function in Chris’ life. He concurrently secures a prosperous life with Chloe and pursues the alluring Nola with lust, but his bold actions lead to consequences. As the stakes rise and lives are ruined, Chris is forced to make the ultimate choice between a life that is dull but carefree and one that is passionate but hopeless.
“Match Point” is intensely thrilling, sophisticatedly entertaining and provocatively unsettling. The title is fitting: Just as amazing match points between tennis greats like Andre Agassi and Roger Federer can inspire reminiscent discussions, Allen’s accomplishment is bound to stimulate some curious conversations, particularly with the awards season under way.
