"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
Everything You Always Wanted To Know About Sex, But Were Afraid To Ask
Like most of Woody Allen's early comedies Everything You Always Wanted To Know About Sex, But Were Afraid To Ask is the definition of "hit or miss." This is a joke a minute film. Some are wonderfully funny but, like Airplane some years later, when you throw a ton of jokes at the wall not all of them are going to stick. Enough do to make this well worth the experience and make it an above average comedy. Released during the sexual liberation and adult sexual reeducation of the early '70s, this is kinda/sorta based on David Reuben's hugely popular manual about human sexuality of the same name. Allen uses the chapter heads to basically create seven short films, spoofing the pseudo seriousness of the subject matter. Some work better than others, but oh boy, the ones that do work are home runs. Here's the rundown starting with the least successful of the seven and moving to the better ones.
Why Do Some Women Have Problems Reaching Orgasms?Continue Reading
Good Night, and Good Luck.
Most of the movies directly about the horrors and political terrorism of the McCarthyism of the 1950s usually center on a dim schmuck who accidentally finds himself involved in the blacklistings. They’ve ranged from the good (The Front with Woody Allen working as an actor-for-hire), the bad (Guilty by Suspicion, the beginning of Robert De Niro’s slid towards mediocrity) and the terrible (Frank Darabont’s awful The Majestic with Jim Carrey, a movie that makes “Capra-esqe” a mortal sin). The usually simplistic genre helps make mega-star actor George Clooney’s second directing effort, Good Night, and Good Luck. (after the interesting but far from perfect Confessions of a Dangerous Mind), seem positively genius in comparison. Instead of piercing the blacklisting from the streets he sets it upstairs in the newsroom of the TV show See It Now, where the legendary broadcast journalist Edward R. Murrow (played by David Strathairn in the performance of his career) dared to take on Senator Joseph McCarthy and his House Committee on Un-American Activities. Clooney (who also wrote the script with another one-time journeyman TV actor Grant Heslov) not only makes one of the most pointed films about this ugly period in American politics but also gives us a fascinating glimpse into the working of 1950s television. Shot in color and then transferred to a stunning black & white in post by cinematography all-star Robert Elswit (he’s shot all the Paul Thomas Anderson joints up to There Will Be Blood), Good Night, and Good Luck. really is a marvelous film, beautifully realized in its simplicity and a triumph on all fronts.
Murrow and his trusty producer, Fred Friendly (Clooney), fluctuate their television news magazine show between lightweight celebrity interviews (Liberace!) and more meaningful political pieces, where their heart really is - the fluff is a way to appease their sponsors and the higher-ups at CBS. Knowing that it could start a battle, they decide to take on the dangerous bullying tactics of Senator McCarthy, who was at the height of his powers. He was ruining careers of American citizens by accusing them of being Communists unless they groveled and told McCarthy what a great job he and his Committee where doing, and they were often forced to name others who may be Communists, just to give more names and more power to the often drunk lout Senator. Murrow and Friendly have to walk a tightrope when the Government begins to hint at an investigation of the station's employees and McCarthy himself falls on his old standby trick, accusing Murrow of being a Communist. Meanwhile the head of CBS, William Paley (Frank Langella, wonderful in the role), is forced to defend his star but also tries to keep him on a short leash (the moments between Langella and Strathairn are the best in the movie). The staff is under their own pressure. Robert Downey Jr. and Patricia Clarkson play a secretly married couple (CBS policy did not allow employees to wed), and in another captivating performance, Ray Wise plays CBS News Correspondent Don Hollenbeck who admires Murrow but lives in terror of having his own lefty political background exposed.Continue Reading
Hannah And Her Sisters
Many consider Hannah And Her Sisters to be the third and best installment in Woody Allen's realistic New York "dramadies" (the other two being Annie Hall and Manhattan). While not as stylish as the previous two, and perhaps even slightly marred by some distinctly 1980's hair and wardrobe choices, the film is one of the director's most mature and dense with ideas while still balancing his knack for comedic writing.
As indicated by the title, the multiple-storied movie focuses on the love lives revolving around Hannah (Mia Farrow) and her sisters Lee (Barbara Hershey) and Holly (Dianne Wiest). Hannah's husband Elliot (Michael Caine) is torn by his romantic feelings for Lee, eventually leading to an uneven affair that also has Lee re-evaluating her life with ex-professor and current lover Frederick (Max Von Sydow). Meanwhile, Hannah's ex-husband Mickey (Woody Allen) is a worsening hypochondriac who starts questioning the meaning of life after receiving news he might have a potential brain tumor. He also develops an interest in Holly, who is feeling secure and confidant in anything except her career or love life.Continue Reading
Husbands and Wives
If Annie Hall was Woody Allen’s ode to falling in love, 15 years later Husbands and Wives is an examination of falling out of love. Where the look and style of Annie Hall was clean and precise, Husbands and Wives is franticly shot handheld with herky-jerky editing and an almost improvised vibe to the performances. If Annie Hall marked the beginning of Allen’s great run of introspective masterpieces and near masterpieces, Husbands and Wives is the end of the streak. It’s his last really important Woody Allen film and definitely his last strong acting performance before he fell into a cliché of himself or brought in other actors to substitute, aping his own famous mannerisms. Husbands and Wives doesn’t have as many laughs as some of his earlier work but the insights into relationships can be utterly nerve striking. Made during his dramatic break up with his then wife Mia Farrow, it may be the last time Allen really had something he wanted to say or was worth hearing.
Besides the French New Wave camera work and cutting, there’s an occasional narrator and interviews with the characters; what was meant to give the film a documentary feel actually seems now to predate reality TV. Gabe (Allen), a writer and college professor, is in a stale marriage to Judy (Farrow); they are shocked when, before a dinner date, their good friends Jack (Sidney Pollack) and Sally (Judy Davis) announce their separation. Subconsciously it may expose their inner doubts about their own marriage. Jack quickly gets a much younger girlfr...
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
Lost In America
Three comic masterpieces in a row is enough to put you on the higher rung of American humorists. The Marx Brothers had that run with Horse Feathers, Duck Soup and A Night at the Opera. Mel Brooks had The Producers, Blazing Saddles and Young Frankenstein (with the less vital The Twelve Chairs mixed in). WC Fields had that amazing trifecta of You Can’t Cheat an Honest Man, The Bank Dick and Never Give a Sucker an Even Break. Preston Sturges, Charlie Chaplin and Woody Allen are three more legends whose hot streaks went beyond three. Albert Brooks, an underrated comic genius of recent generations, is the forgotten man. Throughout the '70s he shined as a cutting edge stand-up comic and made groundbreaking short films for that first season of Saturday Night Live. He made his writer/director feature film debut in 1979 with Real Life, a wonderfully uncomfortable comedy that predicted the coming of reality TV. He followed it with Modern Romance, often called Brooks’ Annie Hall, a deadeye take on both Hollywood and love. And then finally maybe his most perfect gem, Lost in America, the most biting satire of Ronald Reagan’s "greed is good" 1980s yuppie culture. (A less sophisticated comic mind like Steve Martin poked fun at the culture with L.A. Story, but was actually embracing the superficiality.)
The first step in embracing an Albert Brooks film is deciding whether or not you can stomach him. The guy plays some of the most neurotic and deeply insecure characters in movie history, and as David Howard in Lost in America, he’s as obnoxious as ever. The movie opens with him laying in bed with his wife, Linda (Julie Hagerty, fresh off another comic masterpiece, Airplane!). He can’t sleep; he has second thoughts on the much bigger house they just bought and he’s excited with anticipation for the big promotion he is expecting to get at the advertising agency he has worked at for eight years. He assures her once that promotion comes he will no longer be the uptight husband he can’t help being. Linda is a study in understanding, but the next day she breaks down to a co-worker wondering if she can go on like this. To his shock and disappointment, instead of the promotion, he is transferred to New York. He throws a massive tantrum and is fired. In a sorta melt down, he convinces himself that he has been freed from the rat race and talks Linda into quitting her job too. They make a plan: sell the new house, cash out all their stocks and bonds, leaving them with $180,000 to live on for the rest of their lives (this was considered a lot in 1985), buy a motor home to escape from Los Angeles and travel the country (just like Easy Rider!), and maybe settle in a lighthouse in Connecticut where they can paint and write and no longer have to worry about ambition. Deal! First stop, Las Vegas, for a wedding vowel renewal. A monkey wrench is thrown into the works though. While David sleeps, Linda gambles away their entire fortune in a casino. It’s even more downhill from there as they head East and now must rediscover themselves without the comfort of the nest egg.Continue Reading
Love And Death
I’m not enough of an expert in Russian literature to give Woody Allen’s Love And Death it’s full due, intellectually. I do know there's some Crime And Punishment, some Brothers Karamazov, some War And Peace, and some Chekhov being spoofed. Visually there are references to Allen’s Swedish idol, Ingmar Bergman, with The Seventh Seal and Persona, and as well as some Charlie Chaplin. Allen also borrows healthily from his wisecracking forbearers, The Marx Brothers and Bob Hope.If Woody Allen’s directing career can be broken into three sections - his early slapstick comedies, his middle important films, and his later mostly forgettable busts that he’s been marred in for almost the last 20 years - then Love And Death marks the end of that first period. It would be his final "straight comedy" before making his evolutionary leap with his next film, the masterpiece Annie Hall. Love And Death ended his six-year period of comic experimentation following the hit and miss joke epics Take The Money And Run, Bananas, Everything You Always Wanted To Know About Sex, and Sleeper. Hard to believe at one time a film critic argued who was the more important comic filmmaker: Allen or Mel Brooks (after making the classics Blazing Saddles and Young Frankenstein)? Allen went on to do Annie Hall and Manhattan and about a ten more relevant films while Brooks did Dracula: Dead And Loving It. Woody was always growing, while Brooks peaked early. That is not to say Love And Death is only important as a growth record. It’s also a great comedy on its own merits. It’s beautifully shot in Hungary by cinematographer Ghislain Cloquet (Au hasard Balthazar, Tess, etc.). Also it’s been cleverly scored with the music of 20th century Russian composer Sergei Prokofiev (later The Ren & Stimpy Show would use his music as well).
Like Allen’s Latin American revolution comedy, Bananas, a lot of the fun is putting Woody in an absurd situation and letting him be Bob Hope. During the Napoleonic era, Allen, sporting his trademark horn rimmed black glasses, plays Boris Grushenko, a Russian coward ("Yes, but I'm a militant coward"). As his two virile brothers enlist in the military, Boris is too busy fretting about life and trying to get laid. The object of Boris's lust is his independent cousin, Sonja (Diane Keaton), however she is engaged to the herring merchant. Eventually Boris enlists in the army, becomes a hero, and then he and Sonja set out to assassinate Napoleon (played wonderfully by James Tolkan).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
With Modern Romance, writer/director/star Albert Brooks was dubbed a West Coast Woody Allen and, like Allen, Brooks has one of those personalities that can alienate an audience. People usually love him or find him way too annoying to watch. In Modern Romance Brooks takes his neurotic persona to new daring heights of annoyance playing Robert Cole, a Hollywood film editor. When the film opens he's breaking up with his girlfriend, Mary (Kathryn Harrold), again, which seems to be a hobby for him. But like an addict for relationships it sends him into a torturous obsession over her, again. He tries to concentrate on his work and even tries dating others, but he can't, his obsession and jealousy get worse and worse. And with it Brooks turns the romantic comedy on its head, making one of the funniest films of the '80s.
Before moving into feature films Brooks was a cutting edge stand-up comedian. His style was almost a spoof of stand-up comedy and he was one of Johnny Carson's favorites, cutting his teeth on The Tonight Show. He made some brilliant short films the first season of Saturday Night Live (very unheralded in the show's history, they seem to never be acknowledged in the show's many retrospectives). Brooks has directed seven features since, the first four of which are gems. Real Life back in '79 foresaw the coming of reality TV early. It brilliantly teamed him with another underrated, acquired taste, Charles Grodin. Then Modern Romance, which could be considered his Annie Hall, took him in a new more sorta-mature direction. His next film, Lost In America, was an angst-epic and then Defending Your Life found Brooks romancing Meryl Streep in the afterlife. His next two films, The Muse and Mother, were forgettable at best and his last go as a director, Looking For Comedy In The Muslim World, was abysmal. As an actor outside his own films he's had an interesting career, with roles ranging from Taxi Driver to Out Of Sight, he was the voice of Nemo in Finding Nemo, and got an Oscar nomination for his hilarious turn in Broadcast News.Continue Reading