"What’s your favorite movie of all time?" Anyone ever ask you that? In my world (Hollywood, movie nerds, Rocket Video, Amoeba, etc.) it’s not unusual to be asked. Matter of fact, it’s almost expected. Though not as fluctuating as "what’s your favorite song of all time?" It is helpful to have an answer ready for the question. I have mine. Annie Hall.
"What’s your second favorite movie of all time?" is a little harder. The Godfather, Once Upon A Time In The West, Rosemary’s Baby, To Kill A Mockingbird, Blue Velvet, The Road Warrior, Vertigo, Apocalypse Now, Out Of The Past, I mean the list could go on and on. Maybe my number two is Woody Allen's follow up to Annie Hall, his black & white Manhattan.Continue Reading
Play It Again, Sam
If Play It Again, Sam looks a little more like a generic 1970s romantic comedy than the usual Woody Allen flick of the period, that’s because Allen didn’t direct it. But it was based, seemingly line-for-line, on his own popular Broadway play with the three stars (Allen, Diane Keaton & Tony Roberts) reprising their roles. Allen was still early and raw in his directing career, so the much blander Herbert Ross (The Goodbye Girl), an ex-theater choreographer, took the helm. But it still has Allen’s incredibly funny script, showing many signs of the more mature style that would explode into Annie Hall, later in the decade.
Woody plays Allan, a San Francisco film fanatic and writer. Recently dumped by his wife, he’s even more of a mess than usual and in need of constant consolation from his friends, the married couple Dick and Linda (Roberts and Keaton), though Dick always seems to be preoccupied with work. Allan is hoping to score with a chick to help mend his broken heart, but he’s more comfortable watching movies than talking to a woman. Like a classic film geek, his life and his relationship to the world are based on a pose he has seen in films (usually the classics). He’s so lonely and extreme in his film obsession that he has developed an imaginary friend, Humphrey Bogart in his full Casablanca trench coat and hat get up. Bogart imparts two-bit noir advice, "I never saw a dame yet that didn't understand a good slap in the mouth or a slug from a .45." Allan usually ignores the advice and does the opposite or when he tries to obey, it usually goes hopelessly wrong.Continue Reading
Al Pacino played his first cop in Serpico and, by my count, would go on to do it six more times in Cruising, Sea of Love, Heat, Insomnia, Righteous Kill, and something called The Son of No One. (He’s played a criminal in twice as many films.) It’s fair to say that at the time Serpico was released there had never been an on screen cop like this one. It was Pacino’s most Dustin Hoffman-like performance (back in those days they were compared to each other, for good reason). In Serpico, Pacino seemed shorter than usual, his back was humped, his voice more nasally, and his Elliott Gould mustache early in the film grows into a full on scraggily beard. Serpico was an oddball cop who liked ballet, lived with the freaks in the Village, had a dog instead of a baby, and most weird of all, wouldn’t take a payoff. In New York that was enough to almost get you killed.
Serpico’s story take place in the '60s, which was a time of unprecedented police brutality. In the South civil rights workers were being abused by cops. In the North racist big city cops were continually harassing black citizens which led to many major uprisings (or riots). Vietnam protesters in Chicago were faced with Gestapo tactics on national television. The film was an unflinching look at the underbelly of a police force that differed so much from the propaganda Hollywood had given us about cops on TV and films for decades. The film was based on the hard-hitting, best-selling biography of Detective Frank Serpico by Peter Maas (King of the Gypsies), with a screenplay by Waldo Salt (Midnight Cowboy) and Norman Wexler (Saturday Night Fever). The great New York director Sidney Lumet (Network) took over production after John G. Avildsen (Rocky) was fired. Lumet brought his signature grit to the look and, as usual, elicited truthful performances from the cast.Continue Reading