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.
Woody Allen
A Ghostlife Retrospective
September
Ahhh yes, this one. September. I think this one has fallen through the cracks for so many reasons. Primarily I think because it’s a drama but as it runs it’s course it simply doesn’t have much to say. It has a small plot of course, but it doesn’t take the viewer on much of a ride or a journey at all, and by the end (and thankfully it’s only 80 minutes long) it feels mostly like an empty vessel. Even the poster you see above seems to convey something quite severe, a dramatic, profound and sad event in a woman’s life, but it’s misleading. Nothing really happens. “Having said that”, despite taking place entirely in one Vermont summer-house, the movie conveys wonderfully through its lighting and sound a warm summer evening, which itself creates half the atmosphere this film needs. And perhaps its the dialogue, or the cinematography, but this movie doesn’t just feel like an adaptation of a play, but it feels like you’re seeing a play that has been filmed right in the theater. Supposedly this was Woody’s intention with this, so job well done! The screenplay is obviously written for the stage through and through, and that is another plus in the few charms it has. And of course it being practically a play, it showcases some great actors and performances, especially the wonderful Elaine Stritch who has done a lot of stage work in her career. Maybe it’s just me, but I just find her charming in anything I’ve seen her in. Dianne Wiest is also fantastic, and nice to see her doing a full on dramatic role in one of Allen’s films, not just semi-dramatic or comedic. Overall this isn’t a good film, or a bad film, it’s just sort of there, sitting quietly and content with itself in Woody’s back catalog. Worth seeing for its own uniqueness, but save it as one of your last.
C
1987