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

Husbands and Wives
Allen is in fine form here, and I am not sure why I find a movie about divorce, break-ups, infidelity and the like so comforting, but I have seen this movie at least 50 times and it gets better and more enjoyable every time I see it. It ages gracefully I suppose. I think because this was written and filmed right before Allen’s personal and public “troubles” (and subsequently released at the time it went public) – he had a lot of inspiration that hit home and just gave this movie a very real and natural feel to it. It’s not a preachy film with its subject matter (like so many of slightly similar movies can turn into in the wrong hands), but simply – and I’m sure due to the hand-held camera style it’s filmed in (another level of freshness to this film) – it’s basically a documentary. But it’s a warm film. The characters all feel real – even Allen cuts down on his slapstick-y paranoia to play an everyday New Yorker – and the cinematography & production design is just gorgeous – with Autumn reds, browns and rain-swept streets highlighted predominantly. On top of it all you have the performances. First, highly underrated actress Judy Davis has one of the best performances I’ve seen in any movie (not just an Allen movie), and Juliette Lewis who for some reason just never gets the recognition she deserves for this movie when people speak of her filmography. Add the wonderful and departed Sydney Pollack, and Mia Farrow, then round it off with Liam Neeson and Allen, this is just – dare I say it – brilliant! Perfection. Oh – and what is about? It’s about husbands and wives.
A+
1992


