Woody Allen’s ‘Vicky Christina Barcelona’ true to form

If you thought Woody Allen was neurotically charming in “Manhattan,” then his latest film, “Vicky Cristina Barcelona” is sure to charm you all over again. The film sprawls the illustrious landscapes of Gaudi-laden Barcelona to the old-world tenderness of Oviedo. Allen’s newest film is rife with a sense of place-even if there’s still some of his trademark neurosis.

The narrated story begins with two friends, Vicky and Cristina, who are spending the summer in Barcelona. Vicky (Rebecca Hall), stubborn and sensible, is engaged, so her motives for enjoying the scenery are to work on her Master’s degree. Contrarily, Cristina (Scarlett Johansson), na’ve and susceptible, tags along for the ride to find herself.

This contemporary envisioning of author Jane Austin’s romance, “Sense and Sensibility” appears accurate, until the suave and sensual Spanish actor Javier Bardem bursts onto the screen. Hedonistic, artistic, mysterious, and appropriately carnal, Bardem’s Juan Antonio is enchanting enough to enrapture the two friends towards romance and delirium-a game where nothing is as it seems.

Penelope Cruz’s role will surely garner her a second Oscar nod. She plays Juan Antonio’s ex-wife, whose vigor and beauty (part Zelda Fitzgerald, part Almodovar heroine) still hypnotizes the painter, despite her reckless abandon and murderous endeavors.

As Woody Allen has matured as a director, his camera has retreated over time. Allen now attacks his canvas with expressiveness of location, rather than technique. If Allen’s 1978 film “Interiors” owed homage to Ingmar Bergman, “Vicky Cristina Barcelona” has the sensuality of Pedro Almodovar and the subtlety of Victor Erice. Nevertheless, the film pulls few punches and suggests, perhaps, the unwavering need for a change of scenery in our development. We’re glad Allen adhered to that mantra.