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From October 2010 to October 2011 I revisited each film from writer, director, and actor Woody Allen in preparation for 2011 – the 40th anniversary of the release of what is considered by many to be Allen’s first film, Bananas. Of course he did release a few films prior, but it was Bananas that was the first to begin the yearly string of releases that came to be known as the quintessential Woody Allen film.

 

Allen has for years been one of my top five favorite directors, and looking back at his long career (one film per year for 40 years) it’s really quite astounding.  Sure, it’s true that most of the time Allen doesn’t branch out nearly as much as other filmmakers. But there is a particular and familiar universe that he has created and lives in 99% of the time, and it’s a style all his own, a world where he invites you into every year –  to meet new characters, and the stories they have to tell.

 

My reviewing skills are admittedly not very strong, and the famous quote from Truman Capote – “it isn’t writing at all – it’s typing”  – is never more prevalent than with these short reviews, but none the less this was very fun for me to revisit all these movies again over the past months – and exciting to share at least a few of my basic thoughts to the world (ha!) on one of my top five favorite filmmakers. The timing couldn’t be more fitting as well not only because of the 40th anniversary of Bananas, but because that year saw the release, surprisingly enough, of Allen’s biggest financial success in the United States – Midnight in Paris. These are in order of release, beginning with 1971’s Bananas and ending with 2011’s Midnight in Paris.

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Woody Allen
A Ghostlife Retrospective

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Hannah and Her Sisters

A fine cast that includes Allen, Michael Caine, Mia Farrow, Max von Sydow and the always fantastic Dianne Wiest rounds out this story about a group of family and friends (specifically, Hannah – and her sisters) and their intertwined searches for love – past and present. Similar in style to other Allen films that see-saw between drama and comedy – this one also adds more of a romantic vibe to it, which itself see saws between nauseating and fantastic. Ultimately it’s a good film, but not his greatest (despite this being one of Allen’s bigger box office successes). Luckily the splashes of comedy help, and specifically (and coming from one who thinks sneezing means impending death) it’s very funny to see my own health worries played out through Allen’s (surprise!) neurotic hypochondriac character, Mickey Sachs.

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1986

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