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
Manhattan
This one starts off with one one of greatest opening sequences of pretty much any film, a beautiful montage of black & white shots of Manhattan to a soundtrack of George Gershwin’s ‘Rhapsody in Blue’. It’s quite touching actually in the most joyous way, an obvious love letter of sorts from Allen to his hometown, and seeing shots of New York City in the 70’s – it’s quite classic today. Even the most ardent New York hater would have to fall head over heels for the city after seeing that sequence. The mood is sort of out of place though when compared to the rest of the film. The story revolves around Isaac (Allen) whose ex-wife (the young and always fantastic Meryl Streep) is writing a book about their past marriage while at the same time he is carrying on a relationship with 17 year old Tracy (Mariel Hemingway – who does a great job with the role) – the latter of which was based on Allen’s real life relationship with Stacey Nelkin who was also 17 at the time of their relationship. Then Mary (Diane Keaton) shows up, and despite getting off on the wrong foot – Isaac falls for her, thus relationships end and new ones begin – with all the good and bad that comes along with it. Some truly incredible beautiful and iconic shots along with the reliable hilarious lines from Allen’s script more than makes up for the awkward Isaac & Tracy scenes and plotline. It is a movie you really do not want to miss, and I highly recommend it, but for me something is missing, a bit of a bite or an edge. It was written by Allen and Marshall Brickman who co-wrote Annie Hall together just two years earlier (and later on the fantastic Manhattan Murder Mystery), and to me it was them trying to recreate that Oscar-winning magic, and despite coming close, there is a void.
B+
1979