Over a period of four years in the middle of his lauded creative boom, Woody Allen assembled the pieces of what would become “Zelig,” a faux biography about a man from the early 20th century who could physically change his appearance just by being in the company of others with similar attributes. At the time, the ambitious artifice was merely regarded as a self-contained display of his comic ability, a closed world of the sorts of wisdom and quirk than often ran unrestrained in his more mainstream endeavors. Looking back on it now, however, one uncovers a deeper meaning, particularly when we use the full hindsight of his career as the framework. Like the enigmatic Leonard Zelig, Allen harbored deep questions about his own value that were frequently sidelined in an attempt to “fit in” with the world’s perceptions, and making movies – much like changing identities – became an outlet to work through the impulses and behaviors. If the sum of his career can be seen as a series of destinations on a road to that discovery, then his strange, off-the-cuff “mockumentary” provides the most unlikely roadmap.
Early on in “Under the Silver Lake,” Andrew Garfield offers the first of what turns out to be countless stares of confusion, as he gets caught up in a mystery that lacks all obvious conclusions. It turns out his gaze will reflect the inevitable response of the audience observing him. That is not to say they will share the same intrigue or dedication to the cause, mind you, but instead will discover themselves trapped in an agonizing web of deceit that tests the very patience of their commitment. For what, you may be curious? Consider this scenario. Garfield plays a Los Angeles 20-something, wandering from one sensory experience to the next, who befriends a beautiful blonde woman living nearby. Then she mysteriously disappears – along with all her belongings – the morning after they share some innocent flirtation. Possessed by a suspicion that she vanished as a result of foul play, his journey to find her takes him into a maze of controversies, conspiracies, false leads, lurid fantasy, violence, death, long-winded monologues, inconclusive solutions, absurd puzzles, hidden messages, and virtually every possible detective device every utilized in a movie. That it is all made with a remarkably sense of craftsmanship only adds to the offense; this is an endeavor so overwrought, so obsessed with tossing the proverbial rug of chance out the window, that it never deserves the aesthetic of the man orchestrating it.