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"  That chesty Scotch-and-soda voice is recognizable anywhere, even in the bar of the Hotel de la Reconquista in Oviedo, Spain, where Scarlett Johansson is chatting away. &amp;quot;It was freezing today,&amp;quot; she says, &amp;quot;and everyone on set was saying, `Let&amp;#039;s just have a glass of wine at the bar.&amp;#039;&amp;quot; Johansson spent the day with castmates Javier Bardem and Pen\u00E9lope Cruz filming a picnic in the hills behind the medieval city of Oviedo. But, as will happen in northern coastal Spain, even in summer, the weather turned, and director Woody Allen kept the actors late to get the shot he needed. &amp;quot;Woody says everybody looks better in overcast weather,&amp;quot; Johansson explains, &amp;quot;which is probably true, but then it started to rain, and Pen\u00E9lope is wearing a nightgown, and I&amp;#039;m wearing some little thing....&amp;quot; We relocate to a table away from the film crowd, and she orders, in rudimentary but beautifully accented Spanish, a Jack Daniel&amp;#039;s and ginger ale. While she sounds like no one else but Scarlett Johansson, she doesn&amp;#039;t look exactly like the movie version. She&amp;#039;s as curvy as advertised, and those plush lips need no Cinemascopic enhancement. (This is, after all, a classic visage that has of late been used to sell Louis Vuitton bags and accessories.) But she&amp;#039;s tiny, tucked into a gray cardigan that almost covers her blue-jean cutoffs, as if she&amp;#039;s trying to banish the memory of ever being chilled.  Until her recent star turns as a straight-out-of-college babysitter in The Nanny Diaries and as Anne Boleyn&amp;#039;s younger sister in The Other Boleyn Girl, out in February,\u2009 Johansson&amp;#039;s career has been a testament to accelerated development. &amp;quot;You can never really believe her age,&amp;quot; says Eric Bana, who plays her lover Henry VIII in Boleyn Girl. &amp;quot;She has an incredibly mature sense of humor, although if she were tired or pissed off, you might get a sliver of grumpy young girl.&amp;quot; At 15, in Ghost World, she played a high school graduate; at 17, a postcollegiate slacker in Lost in Translation; at 20, a femme fatale in her first Allen film, Match Point. But at this moment, she seems barely her real age, 22, and more like a Salingerian &amp;quot;wise child&amp;quot; exultant with new experience and a desire to have the precise last word. On the subject of her hat, for instance, a nod to a man&amp;#039;s traditional porkpie number: &amp;quot;It&amp;#039;s a great hat. It&amp;#039;s straw,&amp;quot; she says.  &amp;quot;It comes down over your head like a bowler,&amp;quot; I reply.  &amp;quot;It&amp;#039;s not a bowler.&amp;quot;  &amp;quot;I said it comes down over your head like a bowler.&amp;quot;  &amp;quot;I like my hats to fit that way. I know, now I look like some schmo off the train.&amp;quot;  Minutes later, Bardem, exactly as rugged and virile as he looks on-screen and fresh off triumphs in No Country for Old Men and Love in the Time of Cholera, walks by. &amp;quot;Hello, darling,&amp;quot; he greets Johansson. &amp;quot;C\u00F3mo est\u00E1?&amp;quot; she says, her finger always on the Spanish trigger. &amp;quot;How&amp;#039;s the gym?&amp;quot;  &amp;quot;The gym was great,&amp;quot; he says. &amp;quot;Because I&amp;#039;m so healthy now, I&amp;#039;m gonna smoke a cigarette.&amp;quot; Unlike many of her peers cast as contemporary postadolescents, Scarlett Johansson prospers on her own planet icon, unconstrained by her age or by movie genre. She&amp;#039;s persuasive as a seventeenth-century Delft maid in Girl with a Pearl Earring and as a bioengineered clone in The Island. True, some of her films have been merely indie-quirky, and some didn&amp;#039;t pan out at all (even her shimmering bodysuit couldn&amp;#039;t save The Island\u2009). But it makes little difference to the inexorably upward arc of her career. Bigger than her last movie, she&amp;#039;s a throwback in a way to the heyday of the Hollywood studio system and its industrious contract players. (After graduating from Manhattan&amp;#039;s Professional Children&amp;#039;s School in 2003, her college equivalency was a blur of movie sets.) &amp;quot;The point is,&amp;quot; she says, &amp;quot;by the time the movie has flopped, you&amp;#039;re looking forward to finishing the next film. The important thing is to keep working.&amp;quot;  Which brings us to Woody Allen, and her to Oviedo to star in his latest film. In keeping with his usual method, the project has no title or plot that can be divulged beyond a few basics. Apparently, Johansson and the British actress Rebecca Hall are tourists who come to Spain to take in the culture, including local artist Bardem and his ex-girlfriend Cruz. But it&amp;#039;s not a romantic comedy, Johansson says: &amp;quot;It&amp;#039;s sort of a slice of life.&amp;quot; When it&amp;#039;s suggested that a movie with this cast and no love angle would be an exercise in perversity, she relents a little: &amp;quot;There may be some romance in the air.&amp;quot;  Johansson grew up a culture-vulture middle-class Manhattan kid, raised on movies by a cinephile mother. She admits to a case of nerves shooting the first take of Match Point with her idol Allen behind the camera. But now, after last year&amp;#039;s Scoop, the valentine of a murder mystery he created for her, she regards her breezy rapport with the director as nothing out of the ordinary, even as the press has dubbed her his muse, a late-in-the-game successor to Diane Keaton and Mia Farrow.  &amp;quot;We&amp;#039;ve joked about that word,&amp;quot; Johansson tells me. &amp;quot;Woody says, `You appear and my writer&amp;#039;s block is cured.&amp;#039;&amp;quot; (Back in New York, I discover an Allen e-mail response: &amp;quot;This is a stupid phrase that journalists use all the time, a clich\u00E9 with no meaning and bearing no resemblance to anything in Scarlett&amp;#039;s life or my life.&amp;quot;)  Johansson has assimilated Allen into her life as she has John Travolta and U2&amp;#039;s Bono, older male colleagues who have become close friends. &amp;quot;Woody&amp;#039;s mannerisms and his wit are classically him,&amp;quot; she says appraisingly. &amp;quot;But when you know someone, your conversation has an intimacy that you couldn&amp;#039;t have predicted from seeing him on the screen. Woody surprises me all the time. On film, you see his neurotic side but not his sensi-ti-vity.&amp;quot; I read to Johansson a recent quote from Allen, that she has &amp;quot;a tiny bit of Marilyn Monroe in her zaftig humidity.&amp;quot; Johansson waits two beats and then laughs a naughty laugh that would have done Mae West proud. &amp;quot;My goodness,&amp;quot; she says. As that great lady herself once said, &amp;quot;Goodness has nothing to do with it.&amp;quot;  It&amp;#039;s funny how often old Hollywood references crop up with regard to Johansson. She and Natalie Portman became pals and dance-club mates while filming Boleyn Girl outside of London last fall, Portman playing the scheming Anne to Johansson&amp;#039;s forthright Mary. &amp;quot;When I was first around her,&amp;quot; Portman says, &amp;quot;I was thinking, This is like being with an old-time actress, like Mae West. She&amp;#039;s brassy, like a brassy broad. A force.&amp;quot; Topher Grace, who starred opposite Johansson in the smart dramedy In Good Company, explains: &amp;quot;It&amp;#039;s not that she&amp;#039;s mimicking these older stars. She&amp;#039;s got her own unique thing, and back then, actors were trained not to hide from their uniqueness.&amp;quot; (In the &amp;quot;match Scarlett with the oldies&amp;quot; game, bonus points for Barbara Stanwyck, similarly diminutive and irresistible in Stella Dallas and Double Indemnity.) Johansson flirts with her Hollywood lineage most brazenly on the award-show carpets. &amp;quot;You have to give it the sprinkle of stardust it deserves,&amp;quot; she says. She&amp;#039;ll start with a concept\u2014Harlow or Bacall, let&amp;#039;s say\u2014then find the right designer, a Roland Mouret or a Tara Subkoff, to give her look a modern twist. The d\u00E9collet\u00E9 on a red Valentino that she wore to last year&amp;#039;s Golden Globes so unstrung E!&amp;#039;s Isaac Mizrahi, he couldn&amp;#039;t stop himself from languorously fondling her on national TV. &amp;quot;I was so mortified,&amp;quot; she says, eyeballs rolling. &amp;quot;Holy moly, that was bizarre!&amp;quot;  She has figured out what the Hollywood legends knew: how to be a movie star, with its outr\u00E9 trimmings, and a serious actor. There is always some takeaway essence of her, recognizable and appealing from movie to movie, however she bends to the demands of character. (&amp;quot;Why, thank you for saying that,&amp;quot; Johansson says, blushing.) She projects a characteristic ardor, a fearless attitude of &amp;quot;I want what I want,&amp;quot; even when that&amp;#039;s not the key the character is written in. &amp;quot;I&amp;#039;m very comfortable with my body, with my movements,&amp;quot; she says. &amp;quot;Maybe a kind of casual confidence comes through.&amp;quot;  So, in this era of feral Hollywood youth, how has she managed to be so good so often in front of the camera and to have her share of fun off it without getting snared by the tabloid lifestyle? She says she feels grounded by her close relationships with her siblings (her twin brother, Hunter; older brother, Adrian; and sister, Vanessa) and parents, even though her Danish architect/contractor father and her manager mother divorced when she was 13. (&amp;quot;There was never any strangeness about custody,&amp;quot; she says. &amp;quot;They were very civilized about the whole thing, thank God.&amp;quot;)  And she says there is a poise that comes from having worked in the business since she was a young girl, when she starred in The Horse Whisperer and the lovely indie Manny &amp;amp;amp; Lo\u2014though, as Lindsay and Britney have proven, child stardom isn&amp;#039;t insurance against young-adult meltdown. &amp;quot;But you can&amp;#039;t just brush that off,&amp;quot; Johansson says about her r\u00E9sum\u00E9, indignant in the moment. &amp;quot;I&amp;#039;m allowed to be unsure in other parts of my life, but not acting!&amp;quot; She is, however, becomingly modest about her nascent musical career, having just recorded a debut album of Tom Waits covers that&amp;#039;s due in February. &amp;quot;God only knows how many of my incredibly talented friends would kill for a chance like that,&amp;quot; she says. As it happened, Johansson contributed a track to a benefit album for the L.A. Philharmonic, and Warner Bros. liked what it heard. About Johansson the singer, Allen ventures, &amp;quot;It wouldn&amp;#039;t surprise me if she was what you would call a belter, the kind of voice that would fill a theater.&amp;quot; On the question of whether growing up in a richly confusing city like New York has anything to do with keeping one&amp;#039;s narcissism in check in L.A., we go round and round. &amp;quot;I don&amp;#039;t know that it&amp;#039;s New York that quells this horrible transformation,&amp;quot; Johansson says, sensing a logical weakness in my argument. &amp;quot;What about Andy Warhol? He&amp;#039;s from New York\u2014&amp;quot; &amp;quot;No, he&amp;#039;s not, but he embraced New York.&amp;quot;  &amp;quot;So is it different if you move to New York instead of L.A.? What are you saying?&amp;quot; &amp;quot;I don&amp;#039;t know, really. I&amp;#039;m saying\u2014&amp;quot; &amp;quot;Are you drunk?&amp;quot;  It&amp;#039;s getting to be that time. We each order a glass of wine, and Johansson toasts a long interview after a long day&amp;#039;s work. &amp;quot;Cheers, honey, and welcome to Espa\u00F1a,&amp;quot; she says, then passes me off to Cruz, who&amp;#039;s wandered into the bar. &amp;quot;She has amazing charisma, and she is really funny,&amp;quot; Cruz says of her costar. &amp;quot;We just started [filming], but we have a good connection, which is very important for the characters we play that we cannot say anything about.&amp;quot; Behind us, I spot Johansson and Bardem performing a brief, flirty pas de deux. &amp;quot;Tomorrow is your day,&amp;quot; Bardem says to her. &amp;quot;Ooh, I better shave my legs,&amp;quot; she replies. The next morning, Johansson appears in the hotel breakfast room looking even less like a film star, movie makeup scrubbed and showered away, girlishly resplendent in a flower-patterned sun frock. She&amp;#039;s also wearing her nose ring, which, taken with her pale skin and broad cheekbones, lends her face an unsettling fierceness.  The subject of Eros can&amp;#039;t wait. Johansson has become an all-purpose sex symbol, and she&amp;#039;s done it with a film oeuvre of remarkable restraint. Emblematic of her cinematic ravishment is a scene in Girl With a Pearl Earring in which Colin Firth as the painter Vermeer has his way with her by piercing her ear, drawing forth a drop of blood and a single tear that falls down her cheek. What makes her so sexy on-screen is the same thing that makes her so dramatically compelling: a self-possession manifested as total immersion in character. She&amp;#039;s not playing to us; if we want to be impressed with her, or ogle her, that&amp;#039;s our business. Johansson is willing to do less to let the camera come to her. &amp;quot;You have to take the time to have a thought,&amp;quot; she says, &amp;quot;and that always allows for certain moments of silence.&amp;quot; Like those screen beauties of the &amp;#039;40s and &amp;#039;50s, she implies worlds but usually shows very little.  We enter our sex talk broadly, tabloid buffo. There&amp;#039;s a hot news flash on a scurrilous-looking website about Johansson being in conversation with Jenna Jameson to star in the film version of her memoir, How to Make Love Like a Porn Star.  &amp;quot;Oh, come on!&amp;quot; Johansson says. &amp;quot;What kind of movie are they making? Is it green-lit, and are they making it before the strike?&amp;quot; Her speech picks up speed until she hits Hollywood terminal velocity. &amp;quot;I&amp;#039;ll be right back, gotta call my agent!&amp;quot; Another item, that Johansson has bought a house in the Hollywood Hills, does check out. &amp;quot;And I&amp;#039;ve been living with Jenna,&amp;quot; she deadpans. &amp;quot;That may be where they made the connection.&amp;quot; (The mind of an improv comic trapped in the body of a siren.)  About her actual personal life Johansson is circumspect. She&amp;#039;s been romantically linked with Jared Leto and her Black Dahlia costar Josh Hartnett, and she&amp;#039;s currently dating actor Ryan Reynolds, 31, of Van Wilder fame. But we can go deeper. I propose an exercise in which she gets to play director (a real-life ambition) and star in a daring indie film, something like Lina Wertm\u00FCller&amp;#039;s Swept Away, a couple trapped on a desert island, forced to find the truth of their sexual situation. On film and off, Johansson&amp;#039;s saucy precociousness has intoxicated older men, so I offer up former costars in their thirties, then trend older.  ELLE: Jonathan Rhys Meyers [her murderous lover in Match Point]?  SCARLETT JOHANNSON: He&amp;#039;s very charming and sexy. But he&amp;#039;s a clotheshorse. He might be desperate for his boot collection.  ELLE: Ewan McGregor [The Island]?  SJ: Ewan would be good; he&amp;#039;s funny and he&amp;#039;s a problem-solver. And Hugh Jackman, too [another murderous lover, in Scoop]. He&amp;#039;s really athletic and sweet. And both Ewan and Hugh can sing and dance.  ELLE: Who wins for sexual chemistry?  SJ: Hmm, they&amp;#039;re both married with kids.  ELLE: These things fall away on the island. SJ: Well, they&amp;#039;re both dreamy. Maybe if you leave the three of us in Oviedo, it will become apparent [laughs].  ELLE: Eric Bana?  SJ: He&amp;#039;s good and strong too. I&amp;#039;ve had a lot of sweet, sensitive, really thoughtful costars. If you threw them all together... ELLE: That&amp;#039;s another movie. Colin Firth?  SJ: I know Colin as this goofball in a fluffy wig. I never thought of him as take-charge. As you see, I&amp;#039;m more concerned with my survival than my sexual awakening: `Just get me off the f--kin&amp;#039; island, I want a bagel!&amp;#039;  ELLE: Billy Bob Thornton [a teenage Johansson puts the moves on him in The Man Who Wasn&amp;#039;t There]?  SJ: He&amp;#039;s probably too neurotic about dirt and insects. He&amp;#039;s a little phobic.  ELLE: My leading candidate: Bill Murray [they famously had a nonrelationship on the set of Lost in Translation].  SJ: It might be every man for himself!  ELLE: It wouldn&amp;#039;t start out sexy, but it would wind up being the hottest relationship.  SJ: Really? That&amp;#039;s interesting. Is Jenna Jameson in it?  As we consider this, Johansson&amp;#039;s agitated personal assistant walks in. Allen has decided to start the shoot earlier than planned, and Johansson is wanted on set, now. She is unperturbed: &amp;quot;Okay, I&amp;#039;ll be there in a few minutes.&amp;quot; Most people would get a wee bit uptight if Woody Allen were tapping his foot waiting for them, but, no surprise, not Johansson. &amp;quot;Well, we&amp;#039;re not curing cancer here!&amp;quot; she says brightly. "^^<http://www.w3.org/2001/XMLSchema#string>
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