Woody Allen
La Dea dell'Amore

In that period, early adolescence, I should have gone blind in an instant: my hormones were raging, and the translation from English of “Mighty Aphrodite” to “La Dea dell’Amore” seemed not only perfect but the only possible one. Because Mira Sorvino, in the midst of the '90s, was something divine for one of the sexiest women, whatever that means, I think the term conveys the idea sufficiently, that my eyes had ever seen. Forget Pamela Anderson! Centuries later, by chance, I watched this film again and thus stopped to carefully and professionally admire the curves of the protagonist and the entire comedy! The impression was so much better than expected that I finished the first paragraph of a Word file in just 5 minutes.

I didn't remember the dialogues being so crude and vulgar, but the swear words are said with such lightness that they fit perfectly. As I continue watching, I think that this comedy turned out to be beautifully rounded for Allen: I like to imagine that the final result is very similar to the embryonic idea that popped into his head when one sleepless night, perhaps, he began weaving the script's threads in his rather twisted mind. If it were a basketball shot, “La Dea dell’amore” would be a fade-away that just brushes the net without disturbing the lethargic slumber of the circular rim. It benefits from a remarkably well-cast and the right runtime, completely eliminating the superfluous. It has rhythm, with a balanced crescendo up to the explosive encounter between the two protagonists, and the ending is incisive and succinct. It's a comedy that is mostly homegrown, different from the usual Allen, but successful as it fully exploits the spicy contrast between the splendid porn diva “Jude Orgasm”, alias Linda Ash, and the sports journalist Lenny. The cherry on top is represented by the figures from Greek theater, in the role of original narrating voices, capable of making us bend over with laughter during the choral interludes.

A couple (Allen/Bonham Carter) decides to adopt a child, and he turns out to be so loving, smart, and cute that the father can't help but try to track down the woman who gave birth to these extraordinarily crafted genes. Just by looking at him (the little one), he imagines that the biological mother must be a perfect person, accidentally fallen into some problem bigger than her due to her young age. The film's message is that it's often better not to search for a sense, a rational answer to one's questions because reality can often surpass our imagination. Life is an iceberg: thinking that the truth is only what is visible is stupid, but perhaps it's the best thing to do because, when analyzed in depth, our lives are ultimately nothing more than a jumbled, absurd and unique concoction of impulsive actions and second thoughts. What makes “La Dea dell’Amore” a winning comedy is its immediacy that makes it highly enjoyable even for the average viewer seeking some amusing lines without wanting to think too much about the "philosophical" message it conveys.

After such a performance, I wonder why Mira Sorvino couldn't have a career filled with successes. Aside from her superb performance (statuette), the film as a whole is particularly well-focused and successful: overall humorous and sparkling, albeit with some dramatic interludes, almost touching.

If you can't stand the classic Woody Allen and haven't seen this work, I recommend it. I waver indecisively between a 3 and a 4. Then I think back to this scene and suddenly find myself generous.