The Self-deprecating Nature of Irrational Man

01 Oct 2018

Are movies confined to the genre which they purport to be? Is it failure to release an action film to an audience expecting drama? This question is at the core of Woody Allen’s Irrational Man. It is one thing when a film sets out to be of a certain style, but due to directorial mistakes, shoddy acting, a poorly written script, or a combination of factors the end product departs wildly from the intended vision. Wiseau’s oft-ridiculed The Room tries to be a serious drama but succeeds only in being so terrible that viewers can enjoy the meta-narrative of directorial disaster. The recent film Man of Steel starring Henry Cavill as the title character is Sony’s attempt at mimicking the superhero story of their infinitely more successful competitor Marvel. The film doesn’t work well as a superhero movie but still succeeds in the minds of many not as a cheesy superhero flick but as a stage for the standout performances of Jesse Eisenberg’s Luther and Cavill’s Superman.

Irrational Man is an entirely different breed of unmet expectations. Woody Allen hides a compelling psychological thriller within the superficial mask of a poorly-written by-the-books romcom. And he’s done such a good job at hiding it that I bet some members of the cast are still unaware of his misdirection. Before we get into the meat of the film let’s first take a look at the trailer. The scenes are colorful and cheery: scrolling countryside, picturesque, homey cottages, warm oranges and reds in every scene. Voice-overs talk exclusively about sex in a jovial tone. Emma Watson does a fantastic job charming us with her goofy smile, and all the while we’re treated by light, cheery jazz. This is a light-hearted movie about a playboy professor courting one of his enthralled young co-eds. There’ll be some comedy, some romance, and maybe a moral concern or two regarding the problematic professor-student relationship. Abe knows it’s wrong to seduce his student, but as he says,

The dizziness and anxiety had disappeared. I was happy and enjoying the joy of living.

We even see a few scenes of confrontation between Abe and his young partner; maybe the movie will end on a sad note?

Of course the trailer is all lies. Every scene is from the movie to be sure, but removed from their horrific context, scenes of disgust and evil become quirky and enjoyable. The direct references to the true plot are a genius inclusion for those viewers who remember the trailer or watch the trailer after the movie.¹

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