Woody Allen’s ‘A Rainy Day in New York’ will be released theatrically in Europe but is unlikely to be released on screens in U.S.
, plays a young Upper East Sider named Gatsby Welles — a name as heavy-handed as many of the script’s one-liners. But the name also sounds wrong because Gatsby is definitely more of a Holden, as in Holden Caulfield: a downhearted prep school kid raised with season tickets to the Metropolitan Opera and summers in the south of France who’s now in quiet rebellion against his own established Manhattanite family.
Captured in frosted, glowing digital cinematography by Vittorio Storaro — who’s been working with Allen since 2016’sand has done his best work with him here — the film, like its characters and narrative, seems to belong to another time: one where you can say, stumble into Bemelmans Bar at the Carlyle and find Gatsby in a tweed jacket crooning at the grand piano.
Much less magical is the whole half of the movie involving the ebullient yet ditzy college blond Ashleigh, a banker’s daughter from Tucson who's a major film buff but is also portrayed here as a naive country bumpkin who’s in way over her head in the Big Apple, especially when dealing with a coterie of highly successful men more than twice her age.
Is Allen referencing his own situation or simply ignoring that it exists? Either way, the line sits in your gut like a triple-decker sandwich from the Carnegie Deli and remains uneasily with you for the rest of the film. Another one-liner, meant to be a joke about oral sex and Bar Mitzvahs, may have some viewers reaching for the Alka-Seltzer.
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