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

Whatever Works
This is one movie I can 100% admit I am completely unable to look at this from an objective point of view. It’s a dream combination of Larry David (“Curb Your Enthusiasm”) and Woody Allen, and thus, from my fanatical point of view, bias is not strong enough a word. David plays a character (Boris Yellnikoff) that seems to come natural to him – a bitter, old, New York curmudgeon – and if you find that sort of personality to be funny (at least on film) – you’ll be in heaven here. Underneath it all though, there’s a sweetness to it all. When Melody St. Ann Celestine (Even Rachel Wood) arrives from Mississippi outside Boris’ apartment building looking for refuge, he reluctantly takes her in, and over time develops a relationship, and then somehow finds himself married to her. Then, when Melody’s mother arrives looking for her (played by the fantastic Patricia Clarkson), she finds herself going through her own interesting transformation, realizing that whatever works – just go with it. Everything is taken very lightly (as the title suggests), from the relationships on-screen, to the breezy, bright and beautiful summer atmosphere that the New York setting creates. It may be fluff and it may be silly, but it’s funny, and the actors (particularly Wood and Clarkson) play it perfectly. I see beauty in the weird things sometimes, and I do find this one to be a beautiful piece of celluloid. “Oh my god, entropy!”
A
2009


