The opening sequence of Woody Allen’s Match Point sums up not only a crucial point about the game of
tennis but serves also as a metaphor for life’s (seeming) coincidences. The
tennis ball balances on the edge of the net and there are two potential
options: either the ball falls back into the player’s court and the match is
lost or it will creep over to the opponent’s court and mark a win. A whole
match could be decided in the blink of a moment and at that point, expertise or
experience take a backseat because it is all in the invisible hands of the
tennis gods.
This may seem haphazard but as an avid watcher of tennis
matches in my youth I can vouch for the importance of the balancing act of the
net. There are more than a handful of games that were decided by it. One of the
most memorable ones was an early round series of the US Open between the
unseeded but terrific Derrick Rostagno going up against the seasoned tennis
champion Boris Becker. An upset was on the lips of commentators and spectators
as the champ was facing a couple of match points against himself.
As I recall it, Rostagno was about to hit the winning volley
to end the game but, lo and behold, the ball clipped the net and flew higher
than expected. In the heat of the moment, Rostagno’s reflex was to quickly hit
the ball and it ended out of bounds. This tilted what would have been a sure
win for the newcomer to a heart-breaking loss.
In fact, Boris Becker won also another match, the ATP final
against Ivan Lendl where the rally in the tie-breaker seemed to go on forever
until the German was lucky once again; this blond tennis-god favored superstar
won the championship as a result.
So Woody Allen indeed hits a raw nerve of any tennis player,
professional or amateur. The net becomes the blind line of chance, a random
stroke of luck. In the movie, the main character, the occasional tennis instructor Chris
Wilton makes an important personal contact at a tennis lesson; he meets Tom Hewett.
By chance, he gets invited to the opera during which this ambitious young man
meets Tom’s sister Chloe who, as luck will have it, happens to fall in
love with him, head over heels.
Suddenly, Chris has the golden opportunity to gain access to
sudden wealth; through his relationship with her, he manages to land a job that
comes with a personal chauffeur as an enticing perk, and thereafter, marriage
formally secures and binds him to a life of continuous wealth.
Yet then there is the curveball in the curvy shapes of Tom’s fiancĂ©e, the sexy Nola Rice. Against all odds and reason, he is
immediately taken by her and indeed lusts for her. His desire is so strong that
he throws caution to the wind and his persistence finally pays off: He manages
to make love to her on a stormy day.
But that seems not enough, so he continues
to pursue her while she is giving him mixed messages. When his friend Tom breaks
off the engagement, Chris happens to run into her again and seizes once more
and even more tempestuously this new situation and opportunity with Nola.
It is all a matter of luck to him. It was a coincidence that
he ran into her after her break-up, so he wastes no time. She gives in to him
after a while and he has his way. Yet as she is both unstable and penniless, a
struggling actress who simply does not seem to land any gigs, he has no
intention of leaving his wife Chloe for her. As he explains to a friend, he has
gotten so used to the life of luxurious comfort that he cannot imagine himself
being without it anymore.
The irony of it all, fate always has the last laugh, is that his
mistress Nola becomes pregnant. It is ironical because he and his wife Chloe
have been trying very hard for a child, mostly on the latter’s insistence and
his lover gets impregnated during a single misstep. That only time Nola was not
protected leads to this - in his eyes - inconvenient pregnancy. Chris even calls it
an immense moment of bad luck.
And he puts his fate into the hands of luck. If there is
morality, then immoral deeds ought to be punished. Yet if he is not punished,
then there is no moral authority or guidance and the world runs on sheer and random
coincidence. He puts this to the test by meticulously planning a murder. This
is similar to Raskolnikov’s belief that he is morally superior to other beings
and that he should get away with anything, including murder. Incidentally, in an
early scene of the movie, we see Chris read Dostoevsky’s Crime and Punishment.
And then there is the culminating point of irony: Blind
chance is indeed on his side. In a brilliant sequence, we see how a piece of
jewelry gets caught up on the ledge of the river and falls back on the pavement
and this shall serve as an important piece of evidence that will not come to
haunt but rather serves him well to escape punishment.
Although his illicit
extramarital relationship with Nola comes to light via an unexpected (and rather
unlucky) item, namely the diary kept by the victim, it is not enough to
incriminate him and that piece of jewelry absolves him completely and puts the
blame of the murder on another person completely.
This movie is rather bleak in its message but it is quite brilliant
in its ruminations on luck. What if the protagonist is right and we are simply
driven by luck and happenstance? How many of our outcomes do not depend on
chance? The meeting of one’s beloved? The landing of a job? An accident? A fatal illness?
And if that is so, how can we escape it or turn it into good
luck? Are superstitions helpful? Or should we pray to a supernatural being to
win over favors? We often think or assume we are in charge, and in some
situations, we may be, but it is like the tip of the iceberg: There is so much
brooding beneath it all and it might just come down to a stroke of luck after
all.