From The Pen Of Joshua Lawrence Breslin- When Woody Allen Ruled The Social Satire (And Adult Angst) Night

From The Pen Of Joshua Lawrence Breslin- When Woody Allen Ruled The Social Satire (And Adult Angst) Night

[In a recent introduction to this new series, a series based on short film reviews for films that deserve short reviews if not just a thumb’s up or down I noted that Allan Jackson, the deposed previous site manager, required his film reviewers to write endlessly about the film giving the material an almost cinema studies academic journal take on it. That caused a serious decline in the number of reviews over the years which I hope to make up with a flurry of snap reviews for busy people. To see in full why check the archives for November 28, 2018- Not Ready For Prime Time But Ready For Some Freaking Kind Of Review Film Reviews To Keep The Writers Busy And Not Plotting Cabals Against The Site Manager-Introduction To The New Series Greg Green]

Short Film Clips

From an American Left History blog review of Woody Allen’s Annie Hall-

… Hey, haven’t I already reviewed this movie. No, sorry that was Manhattan another in the line of very witty Woody Allen movies. But the point is this it is the same subject that Woody addressed there even though chronologically Annie Hall came first by a couple of years and received the lion’s share of kudos and awards. As virtually always Allen is intent upon commenting on New York life and its intellectual trends and the ups and downs of relationships, mainly with women. Here he adds a flourish by contrasting old New York (in the 1970’s) to up and coming California as the cultural mecca of the American empire. And, as should be the case, New York wins.

Add to that the perennial issue of Woody’s struggle with ‘interpersonal’ relationships and his angst-driven desire to understand the modern world and you have a very fine social commentary of the times. Needless to say Woody’s love interest Annie Hall (as played by his then paramour Diane Keaton) keeps him hopping. As does an ensemble cast that works well together as foils for his ironic and savage humor. The only surprise in revisiting this film recently is how well Keaton plays her role as an up and coming torch singer. Of course, I have always been a sucker for torch singers but that is another matter. Some of the humor may seem dated and very 1970’s New Yorkish. Some of Woody’s mannerism and use of sight gags may seem like old news. But this is a film to watch or re-watch if you have seen it before.

And hence…

Alice

I having been retrospectively over the past year running through films Woody Allen directed, wrote, acted in or produced. Interestingly they run the gamut of his intellectual and cultural interests but I must admit that I did not realize how many of his films featured his old paramour Mia Farrow. She must be the number one actress featured in his various efforts. That is the case here with Allen’s whimsical modern day take on the Alice in Wonderland saga in good old New York City (naturally).

Here Farrow is the unfulfilled wife of a stockbroker who along the way has lost her moorings and her values and is desperately seeking a solution. In that effort she runs to the wisdom of the East exemplified by Doctor Yang, the acupuncturist. Going through a series of madcap false starts and pseudo-affairs she finally is able to right her course, leave her husband and bring up her children out of harm’s way. Damn, I want the telephone (or more correctly these days, the cell phone number) of the good Doctor Yang, pronto. A piece of fluff. Woody has had better ideas for a film in his time but not a bad performance by Farrow.