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
Crimes and Misdemeanors
Once in a while Allen doesn’t seem to be able to make up his mind what his next film should be, a comedy or a drama. So why not do both? That’s exactly what he decided to do in this interesting little film. The drama side revolves around Dr Judah Rosenthal (Martin Landau) whose mistress (Angelica Huston) is trying to reveal their affair to his wife. It leads to Rosenthal taking very selfish and ghastly actions, which only leads to different and terrible levels of guilt he hadn’t thought about beforehand. On the comedic side, Cliff (Allen) has been hired by his big time TV producer brother-in-law (Alan Alda), whom he despises, to make a documentary about him. While in production me meets Halley (Mia Farrow) and falls for her instantly. Cliff is of course now cheating on his wife in hopes that a future with Halley is in the cards, but she may not be entirely ready or even interested. Both stories are convincingly portrayed, and having the very heavy-handed story of Rosenthal broken up with the light-hearted Cliff story makes it much more tolerable. Makes you wonder if Allen had done the same with Interiors and September then they might have also been more enjoyable – as when he does drama, it is drama in the truest sense of the word. Either way this is a rewarding move to watch – just be prepared for a total night and day experience.
B+
1989