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
Manhattan Murder Mystery
For this film it was a reunion of sorts, and at the same time a bit of a fresh start. After Allen’s personal troubles became public, he decided to take it light for his next film, and to do that he teamed up for the first time since Annie Hall with his co-star from that film (and real life ex-girlfriend) Diane Keaton. Also back in the fold was the co-writer of Annie Hall (Allen rarely has co-writers), Marshall Brickman, who worked as co-writer on this film as well. This lovely piece of celluloid is a perfect gem, and in this fan’s eyes – one of his best. As for the story, well, the title sums it up nice and simply – it’s a murder mystery that takes place in Manhattan. When Larry (Allen) and Carol’s (Keaton) neighbor passes away, wild ideas are floated about as to what happened, but when Keaton becomes an on-the-fly PI – it turns out the theories of her and her friend Ted (Alan Alda) may not be so crazy after all. I have seen this one more than any other of Allen’s films, so we are probably talking about 70 times I would guess at this point. Yes, I’ve spent 140 hours of my life watching this movie over and over again – and it’s still not enough and it never gets stale at all. Every location is charming and beautiful. Every note of music is perfectly chosen. Every performance is spot on. The chemistry between Allen and Keaton is superb. The chance to see Anjelica Huston in a comedic role is refreshing. As well, Allen may not get many accolades for his acting chops, but he nails this role perfectly. It’s hard to get lost in any Allen performance – it’s always apparent you are watching Woody Allen – but he steps out of his shell a bit for this one and puts in a hilarious role. Apparently something about his personal troubles helped him put out two of his best works, back to back, as this one is breezy, it’s whimsical, it’s really really funny, and its even tense at times. And if you’re a sucker for Allen’s one-liners, delivered with his physical brand of comedy – you’re in for a treat here. And is that Joy Behar, and Zach Braff? WEIRD! Perfect for any occasion, this movie is pure comfort food. Very HIGHLY recommended.
A+
1993