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
Sleeper
This one is brilliant, especially when compared to Allen’s other films, because it is probably his most effective film. I say that because (and I am not sure if this one bothers others as it does me) it’s vision of the future is so bleak, sterile and clinical that it’s incredibly depressing to watch (even though the budget at times leaves a lot to be desired). It makes the story much more “believable” of course, which is why it’s effective for me, but I rarely look forward to watching this movie. Which is a strange thing to say, because this is also one of his funniest and well made. The story is simple. Miles Monroe (Allen) is awoken after 200 years of being cryogenically frozen, finding himself in a world (the year 2173 to be exact) that looks like a giant Apple store, with a dash of totalitarianism. Miles ends up befriending Luna (Diane Keaton) and together they dive into an adventure trying to stop some nonsensical “Aires Project”. Anyway, this movie is pure slapstick and Allen is at his best in this one. It’s one scene after another filled with his perfectly over-the-top physical comedy and top notch one-liners, and much of it to the tune of his big band Preservation Hall Jazz Band which he even still plays with to this very day (see Wild Man Blues). I hope not to sway anyone away with the bleak future talk – it’s probably just me who feels slightly disturbed by it – as this is a very fun and very very funny movie.
A
1973