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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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Deconstructing Harry

This is without a doubt one of Allen’s best films. Feeling like a whole new, fresh, revived and inspired Woody Allen, this one is beautifully shot, cleverly edited, very funny, and just works so well as Allen decided clearly to push himself outside the box a bit, and because of that it feels very inspired from beginning to end.  The story revolves around Harry Block (played by Allen) whose life is a bit in disarray, and in no uncertain terms is seeing aspects of his persona played out via dramatizations of his various short stories. The cast is huge and hilarious, including seeing Kirstie Alley finally show the comic chops she showed back on her days on Cheers, and Mariel Hemingway – who years earlier was Allen’s co-star in Manhattan. And to top it all off – it all still feels like quintessential Allen. I’ve seen this one dozens of times and it never gets old.  It’s a complex, but somehow a very cozy and comfy film, and Allen continues to make New York City look and sound like a place I wish I could love.

A+

1997

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