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
Scoop
This is one of my favorite of Allen’s comedies as it’s a celluloid version of comfort food. You can sit down and watch it with full attention at any time and it’s a great experience, or you can put it on in the background and it’s nice to have it there, keeping you company. It was a nice change afterMatch Point‘s over-the-top seriousness, and to see Scarlett Johansson’s comedic chops just a year later, it has become clear to me after repeated viewing of both that film and this one that this performance is the better of the two. Her top quality to me is to take on the role by not acting like “how you’re supposed to act in an Allen film”, but to make it all your own, and she does just that. There’s no real need to go into the plot, as it’s not as important as the light-hearted mood of the film, but basically it’s about murder and magic. The key to the film’s success is the interaction between Allen’s and Ms Johansson’s characters, including Allen’s still hilarious skill of physical comedy and one-liners. If that alone is enough to make a movie pure gold, then you will be in heaven with this one, but just add in Johansson’s bubbly enthusiastic naivety (her character, I refer to) and you’ve got a brilliant new comedic team. This isn’t the best review as it’s not the easiest film to explain why I love it so much, but I guess that’s the nature of comfort food.
A
2006