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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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Bullets Over Broadway

Anchored by two fantastic performances by Dianne Wiest and Jennifer Tilly, and not to mention probably the strongest supporting ensembles in any of Allen’s films, this is another entry into what was a decade straight of fantastic entries into his filmography. This one revoles around struggling playwright David Shayne (John Cusack) who has been given the opportunity by his manager to bring his newest play to Broadway.  He even has the Norma Desmond-inspired Helen Sinclair (Wiest) on board for her big comeback.  The only hitch? This opportunity is fully financed by a big time mobster who requires his airhead girlfriend (Tilly) take the lead. Of course David is not having it and chaos ensues. This is a very funny movie, specifically because of the performances, and frankly it’s pretty difficult to take one’s eyes off the screen whenever Dianne Wiest is on.   She completely transforms herself and it’s a simply fantastic (and ultimately a much deserved award-winning) performance.  Then you’ve got Tracy Ullman, Harvey Fierstein and goodness is that Mary-Louise Parker? She’s no Nancy Botwin here.  This is one of those movies where it’s hard to understand why awards for casting are not given out. Very fun, very very funny and highly recommended – of course.

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1994

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