When we think of Woody Allen’s evolutionary assault on film history, we think of his amazing one-two-punch of Annie Hall in ’77 and Manhattan in ’79 (and some may add Stardust Memories to the streak in ’80). But usually forgotten (and some would say for good reason) is the little film in between them in ’78 called Interiors. After years of slapstick, the comic/director’s Annie Hall surprised audiences with a more mature and almost serious direction (and won lots of awards for it). But with Interiors, Allen turned the seriousness up to an eleven.
This was his bold attempt at a Bergmanesque (a term invented because of this movie) cold, depressing family drama; there’s not a joke in sight, not even a smile. It couldn’t be more bleakly Scandinavian, as heartbreak, envy, divorce, adultery, rape, icy silence and of course, suicide by drowning take their turn on the screen. Allen puts together an interesting cast of actors at their most introspective. Leading the way is his then-muse, Diane Keaton, along with Geraldine Page, Mary Beth Hurt, Sam Waterson, E.G. Marshall, Maureen Stapleton as well as impressive newcomer Kristen Griffith and, in a stroke of inspired casting, the great B-Actor Richard Jordan. At the time, not only was this a new direction for Allen, it was unlike anything any major American directors were doing.Continue Reading
Manhattan could be America's most moving film about the genuine love between a forty-something-year-old intellectual and a 17-year-old high school student. Well, it's about a bit more than that, but the central storyline is moving in ways few people can quite articulate, but are quick to call "brilliant." Both completely modern yet seemingly timeless, Woody Allen's 1979 film provides a picturesque tribute to one of the world's great cities, as well as a bold statement on finding romantic happiness in not so widely agreeable places.
Allen stars as Isaac Davis, a single father and writer living in Manhattan, who most would consider depressed. Involved in what he considers a meaningless relationship with the underaged Tracy (Mariel Hemingway), friends Yale (Michael Murphy) and Emily (Anne Byrne Hoffman) are concerned Isaac is wasting his life away with the girl while writing junk television shows. Isaac starts to re-evaluate his situation, however, after meeting Yale's mistress Mary (Diane Keaton). At first repelled by her "pseudo-intellectualism," he quickly develops an interest while her affair with Yale becomes more intense.Continue Reading
Most films about the future seem optimistic about human intelligence levels rising, with Mike Judge’s depressing comedy Idiocracy being an exception. Woody Allen’s Sleeper splits the difference: the technology and science have evolved but people have gotten shallower. Since ’73 his vision looks to be almost prophetic. As a follow up to Every Thing You Always Wanted to Know about Sex * But Were Afraid to Ask, Sleeper was his most polished film at that point. It was the peak of Woody’s slapstick phase, just four years before his evolutionary jump into the more mature filmmaker he would become with Annie Hall and Manhattan (both films co-written with Marshall Brickman, who also worked on the Sleeper script). Kinda, sorta, slightly based on H.G. Wells’s 1899 novel When the Sleeper Wakes, it’s a film that, because of the science-fiction element and the high laugh count, has always been considered one of his more admired and easily digestible films from his non-fans.
In 1973, Miles Monroe (Allen), owner of the Happy Carrot Health-Food store, is put into a scientific sleep chamber, without his knowledge, and finally revived two-hundred years later in 2173. He wakes up in a futuristic American police state (similar to so many movie future societies from Logan’s Run to Conquest of the Planet of the Apes to The Hunger Games). The rebels need him because he’s the only citizen without an identification number. He ends up helping them by posing as a robot servant for a dingy socialite, Luna Schlosser (Diane Keaton, working ...
During one of the ugliest periods in American political history, as the Cold War hit hysteria, a drunk congressman named Joseph McCarthy managed to destroys thousands of American lives and careers with his House Un-American Activities Committee. HUAC would accuse people of being Communists (many of the accused at one time may have belonged to the then totally legal Communist Party or donated to causes that were Russian-related—this was years earlier when Russia was our ally against Germany). To clear your name you needed to name names and praise HUAC. Most famously many in Hollywood (almost always Jewish folks) were called to testify; some played ball with McCarthy and were considered “friendly witnesses” (Sterling Hayden, Elia Kazan) while many others refused to testify and either went to jail or were blacklisted from working.
Screenwriter Walter Bernstein was one of those blacklisted, but by the end of the ‘50s many gutsy producers began to break the blacklist by hiring the recently unemployable. Bernstein made a comeback writing the script for Fail-Safe and eventually wrote The Front, a semiautobiographical memoir of the period. Besides Bernstein the film is full of blacklisted talent on both sides of the camera, including actor Zero Mostel and Director Martin Ritt (Hud, Norma Rae).Continue Reading
Woody Allen: A Documentary
At over three hours Robert B. Weide's documentary (originally shown as part of PBS’s American Masters series) is almost “everything you always wanted to know about Woody Allen - but were afraid to ask." As a rabid fan I still have some unanswered questions, but I couldn’t ask for a more entertaining examination of the fascinating career of one of cinema’s true masters. Though autobiographical snippets have appeared in most of Allen’s films, he has remained massively private and almost mythically close-mouthed about his filmmaking (for instance never giving any DVD extras), though in recent years he has done more film promoting and made more public appearances (as have guys like Robert De Niro, as the economics of promoting films have gotten more intense and needy). In ’97 Allen was the subject of a fun, lightweight documentary, Wild Man Blues, which was more about his clarinet playing career and his bizarre relationship to his one time step-daughter and now wife, Soon-Yi Previn. For fans that was the closest glimpse into the man (along with Eric Lax’s 1991 book of conversations with Allen). But with Woody Allen: A Documentary, Weide (mostly known as a TV director with credits that include Curb Your Enthusiasm) has gotten the most in depth, on camera heart-to-heart with Allen. Filled with wall to wall clips, the film mercifully spends most its time on the rarer early career of Allen and less on the stink he has mostly been putting out for the last 20 years.
Woody’s life growing up in Brooklyn is now the stuff of legend. As a teenager he started giving jokes to newspaper columnists, which led to some writing gigs that eventually put him in a room with future celebrated writers Neil Simon, Mel Brooks and Larry Gelbart writing for Sid Caesar. He would continue writing for comedians until hooking up with high-end managers Jack Rollins and Charles Joffe who talked him into hitting the stage and telling the jokes himself. A neurotic and shy young man, Allen never dreamed of being a performer and it often showed. It was a slow rise but eventually, as cerebral comics like Mort Sahl were coming into fashion, Allen found his voice and an eager audience in the groovy coffee house scene of New York’s Greenwich Village at clubs like The Bitter End. Allen soon became a showbiz fixture on the TV comedy circuit; exposure was the goal and here Allen admits nothing was beneath him (the documentary even includes a bizarre clip of Allen boxing a kangaroo a show called Hippodrome).Continue Reading