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

Mighty Aphrodite
For some reason I get the feeling this, one of Allen’s best, is being forgotten with time, and I can’t really figure out why. Anchored by a fantastic, hilarious and award-winning performance from Mira Sorvino, this is a really fun movie about Lenny (Allen) who adopted a child with this wife (Helena Bonham Carter), and then becomes curious in finding out who the child’s birth mother is. This leads him to the quirky, charming albeit dim porn star/prostitute Linda Ash (Sorvino), to whom Allen becomes determined to help turn her life around. The story is narrated by a Greek chorus who appears and disappears at various moments throughout, tying the plot up with the story of Oedipus. There’s something very comforting about this movie to me, maybe because it seems to balance out all the different forms of comedy Allen does, instead of just focusing on one style. Mighty Aphrodite is a prime example of Allen at this best, especially scenes between him and Sorvino which are just fantastic (their first encounter has me in tears each time from laughing). Michael Rapaport is fantastic as well I should add. I can’t recommend this one enough.
A
1995


