Amazing worth wacthing. So good. Biased but well made with many good points.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

I liked this film from the outset because of the screwball/Woody Allenish style of it but it really kicked in for me with the following paraphrased quote: Allegra: Phillip Roth is a misogynist...I'll buy the first round if you don't tell anyone about Martha Stewart.Philip: I'll buy the second round if you can think of something more original to say about Phillip Roth.The word "misogynist" is overused and misused by some women and it was nice to hear it dealt with so easily.This film has a potential to be misandrist/women-empowering but it never really goes there which is GREAT. Quoting Allegra: "Just because I love women doesn't mean I hate men." "Puccini" points out a lot of irritating female behavior by having Allegra play the man-stereotype (who happens to be a woman), thereby vindicating men of some of their "flaws". Reaser WAS "like a man" but an interesting, good, CHARMing man with some of his more understandable flaws, like fear of commitment and romantic curiosity. I've never seen Elizabeth Reaser before but I loved her choices and acting style in this film. She was cool, understated and charming and she made nice underwear choices. She was the constantly-criticized man with women and the irritatingly instructive but inconsistent woman with a man. Following are two quotes from her character to Philip: "When a woman runs out of a restaurant that's your cue to run after her." "Phillip, when a woman says she has to leave a restaurant you have to let her leave." I liked the sushi commentators and the lonely lesbians drinking their coffee in unison. When Allegra vomits on Philip's shoes, the sound-effect is masterful. Gretchen Mol is charming and I liked the absurdity of the battling men in the background while she is mouthing the usual, boring, general complaints about men. I appreciate that Allegra gently disagrees with her. At the closing party, while Allegra is talking to Philip and looking for her coat, a mating couple wanders in. Samantha's fiancée was entertainingly stupid. Nell, the ex-girlfriend, was magnifico. "Puccini" had a lot of nice comic touches.Allegra's character arc follows Redford's in "Out Of Africa", without the lions, but Reaser has the humor that Redford needed. She is unwilling to commit for reasons that are less idealistic and more vague but, in the end, comes around to the idea that commitment has it's charms when it's the right person. She IS a commitment-phobe but, like Redford's character, for most of the right reasons. She's not stupid enough to LOOK for commitment but she's not inhuman enough to live without romance and passion.Maria Maggenti has created something fresh, classic and modern here. (She seems to know a few things about women). "Puccini For Beginners" does away with a lot of feminist cliché and propaganda which is refreshing as hell.

To me this is a decently made digitally-recorded film. It looks better than many low budget features. Photography and sound is generally good except for interior lighting that in places seems a little too flat for my taste. Yes, it follows in the "screwball comedy" tradition to some extent. Occasionally, early directorial efforts attempt to bring in more themes than they can successfully integrate fully. The operatic theme and title wanders off and gets lost somewhere about halfway through. Two sushi chef characters are funny and provide more zest and unity end-to-end than the operatic theme. Various other minor characters who speak just a few words all enhance the story as well and keep it moving. Dialog relies on psycho-babble for exposition. This does not necessarily detract if the audience can understand it. But the thought that this might be lifted from Woody Allen never occurred to me while watching the film first without, then with, the commentary. Any resemblance this film may bear to certain W.A. hallmarks as others have suggested is coincidental. This isn't a mere goofy / silly wisecracking comedy, either. It has gender identity issues that inevitably darken the mood for the major part of its potential audience. This core aspect of the narrative reduces the film to a subculture where it needs to succeed within a limited cult following to become commercially successful. Several comments in the narrative reemphasize the writer-director's gender orientation and politics. Given key career and relationship choices that most of the lead female characters make during their arc, it's questionable whether this film is going to engage a lot of general public sympathy. Nevertheless, plentiful relationship dynamics such as basic ability to communicate apply to all romantic relationships. The outcome here is more positive and carries with it greater depth that gives this film its charm.

Directed and written by Maria Maggenti ("The Incredibly True Adventures of Two Girls in Love"), this disheveled 2007 romantic triangle comedy has several likable elements, but it never seems to coalesce into something more resonant. The chief problem is that the protagonist, a neurotic, opera-loving lesbian writer appropriately named Allegra, is so perpetually self-absorbed that her dilemma never elicits much sympathy. Elizabeth Reaser is an appealing character actress but frankly not charismatic enough to get away with the commitment-phobic shenanigans that Maggenti throws her way in the acerbic script. The gap causes an odd imbalance with her more intriguing co-stars Justin Kirk and Gretchen Mol. Kirk, who soared as Prior Walter in Mike Nichols' epic 2003 adaptation of Tony Kushner's "Angels in America", harnesses his quirky persona effectively to play Philip, a bored philosophy professor who becomes attracted to Allegra.In turn, Allegra finds herself drawn to Philip but is still reeling from a break-up with her conflicted girlfriend of nine months. Meanwhile, Mol (refreshingly frank as "The Notorious Bettie Page") seems to be channeling a bit of Meg Ryan's flaky self-righteousness in playing Grace, a pert glass-blower who just broke up with Philip. Grace meets Allegra, and the standard complications ensue. Even with the lesbian angle, which Maggenti handles with aplomb, the indie movie feels more like a throwback to a 1930's screwball farce, especially seen in a hectic party scene where all three principals converge in a most haphazard way. Emotional isolation is a worthy theme to explore, but Maggenti can't make the film snap with the strength of her witty observations. One would have also expected a reference to Puccini, in particular, his tragic opera "Turandot", to be reflected more fully than it does here through the plodding plot structure. The 2007 DVD has an insightful commentary track from Maggenti and editor Susan Graef, as well as a couple of deleted scenes.

Better than Woody Allen's last five movies combined, PUCCINI FOR BEGINNERS is that snappiest, funniest, romantic comedy in recent memory. The cast is spectacular and the direction is flawless. I can't say enough good things about this movie. I first heard about it at Sundance; everyone I know who attended kept telling how I needed to see it. I am not one to buy the hype so I just let the movie fade from memory. Having just seen it, I see that the hype wasn't unjustified; in fact, I'd say it wasn't strong enough. Put simply: this movie is cute. C. U. T. E. Gretchen is adorable, as always. Elizabeth Reaser is a dream come true; she delivers her dialogue with the skill and precision of a government trained sniper. Justin is so affable, you can hardly stand it. Overall, I just have to say that missing this movie highly, highly inadvisable.