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
Sweet and Lowdown
This movie has always felt to me like a wonderful and harmless little showcase. Not just for the wonderful performances by Sean Penn and Samantha Morton – both well-deserving of their Oscar nominations, but of all the wonderful jazz music that is at the forefront of the story. Penn portrays fictional jazz guitarist Emmet Ray, who is “the second greatest jazz guitarist of his time, right behind Django Reinhardt” … well according to him that is the case. He is talented with the guitar neck, but he’s just as talented with the bottleneck – and because of that, real potential greatness that is within arm’s reach is simply too far away to grasp. In the meantime, the story is a pleasant observation on the life of Emmet, especially once he meets Hattie (Morton), a mute woman with whom he becomes involved in a relationship. More than the chemistry they do have on-screen, hers is truly a fantastic performance, especially considering she doesn’t utter a word through the entire film. Sweet and Lowdown is a nice story, with great production design, music and performances, but there is just something missing which I still can’t pinpoint. There’s not much humor, nor is their much drama. It’s all a bit directionless, which is nice at times, but when all the elements in this are so grand – when it’s lacking a strong direction – it just feels unfinished. A shame, as this could have been one of his best. Oh, and John Waters is in it!
B-
1999