The 37th Or Something Like That Reincarnation Of Woody Allen’s Epic Los Angeles-New York City Battle-And A Little Romance Thrown In-Woody’s “Café Society” (2016)-A Short Film Review

The 37^th Or Something Like That Reincarnation Of Woody Allen’s Epic Los Angeles-New York City Battle-And A Little Romance Thrown In-Woody’s “Café Society” (2016)-A Short Film Review

DVD Review

By Ronan Saint James

Café Society, starring Jesse Eisenberg, Kristin Stewart, written and directed by Woody Allen, 2016

[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]

I will say this about Woody Allan, a guy can’t be too bad, can’t be too repetitious if he indulges his passions for old time bluesy, jazzy torch singers who are also into jazzing, 1920s and 1930s time frames, and be-bop Benny Goodman as an example big-time swing bands. Even if the story line of this latest production Café Society is a 37^th reincarnation of stories he did much better when he was young and hungry when he wanted to make definite statements that New York City not La-La Land was the epicenter of American cultural expression in whatever condition it found itself. That said this retread still had its points. 

Naturally poor Woody, oops, Bobby, was tired of New York for a minute decided to see the world and headed to Hollywood where a successful talent agent uncle might help him get a leg up in the movie business-maybe follow in “Unk’s” footsteps. Before he could get that leg up though he found his soulmate or who he thought would play that role-as naturally some gentile woman from the Midwest, here Nebraska but you name the vanilla state and can plug it in. So Woody certainly could never have been accused of not rushing headlong into the eternal film saver-boy meets girl trope that has kept many a film from the delete button of late.

That said here is the play once Bobby gets out from under the New York scene (I would not be telling any tales out of school to note that he would scurry back before too long with his tail between his legs-okay) and into the wilds of Hollywood he finds that true love, his uncle’s assistant, receptionist I don’t know what he put down on his tax returns but something to cover the fact that Von, dear Von, is his uncle’s mistress if anybody can use that term anymore with a strange glance. Uncle is ready to ditch wife and all except for a time he dithers and that will give our Bobby his opening. Except (always the Woody “excepts”) when push came to shove and it was mano a mano on who Von was going to marry she went with the uncle. Fast forward: a bunch of years later both Bobby and Von met at some social event in New York and while they did not get it on or anything like that they were both very wistful after departing. Like what might have been. After three divorces and a bunch of affairs that sentiment hit me square in the eye. Again. We are doing short film reviews these days under strict orders from the “boss,” his designation of himself so that is it.

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.

What's In A Name, Woody Allen?

DVD REVIEW

Zelig, Woody Allen, 1983

Trying to figure out a header for this review epitomizes the problems that I have with this very middling Woody Allen film. Readers of this space know that I have done many reviews of Allen’s films, as actor, director or both but this one annoys me no end. In short, not all Woody Allen movies are created equal. The premise behind this one is potentially interesting, perhaps more so today than when the film was originally produced- a send up of our celebrity-crazed society. With Allen as a human chameleon in the Jazz Age there certainly were possibilities for a funny look at how the geeks looked at a fellow geek but it falls flat. Why? I believe that here Allen just went back and found every sign gag and cliché that he had already used in many previous films- the obligatory nod (or is it finger?) to Freud, Marx, the New York intelligentsia (here Irving Howe of Dystenary fame and Susan Sontag), Jewish childhoods, fascination with gentile women (here Mia Farrow, as an chain smoking experimental psychiatrist) and so forth. If this list sounds familiar to Allen fans then you have the sense of my feelings on this film. Woody flat ran out of steam on this one. Fortunately, there is plenty of other better work by Allen to pick from. Do so.

*The Retreat of the "Greatest Generation" Intellectuals- Professor Irving Howe

Click on title to link to an article posted from Alan Wald's "The New York Intellectuals", "Portrait: Irving Howe", which is useful to read in connection with some of the points that I make below.

BOOK REVIEW

Irving Howe: A Life of Passionate Dissent, Gerald Sorin, New York University Press, New York, 2002


The last time we heard the name of the subject of this biography, Irving Howe, in this space it was as a (well paid) cameo 'talking head' performer and resident literary expert in Woody Allen’s comedic send up of mass culture, Zelig. If Woody Allen is regarded as the consummate New Yorker, then Irving Howe, for better or worst and I think for the worst, represented the consummate post- World War II New York intellectual. Furthermore, as detailed here Howe came to see himself, as reflected in various shifts in his literary work and his politics, as a New York Jewish intellectual. (The Jewish intellectual aspect of this biography is a little beyond the scope of what I want to review here but should be mentioned as it is a central theme of Professor Sorin’s work).

Moreover, as a perusal of this sympathetic, sometimes overly sympathetic, biography will reveal, as if too add insult to injury, this long time and well known editor of the social democratic journal Dissent fancied himself a New York socialist intellectual, as well. And that is the rub. As I will argue below Howe and his ‘greatest generation’ cohort of public intellectuals did more than their fair share of muddying the political waters as people of my generation, the generation of ’68, tried to make political sense of the world. And tried to change it for the better, despite the best efforts of Howe and his crowd to make peace, for the nth time, with bourgeois society.

I have mentioned in a review of Socialist Workers Party (SWP) leader James P. Cannon’s The Struggle for the Proletarian Party, a book about the faction fight over defense of the Soviet Union and the organizational norms of a Bolshevik party in 1939-40, found elsewhere in this space that I have long questioned the wisdom of the entry tactic into the American Socialist Party by those forces who followed Leon Trotsky in the 1930’s. Irving Howe is an individual case study that points out, in bold relief, the impetus behind that questioning.

Howe, born of poor New York Jewish immigrant parents in 1920, came of political age in the 1930’s as he gravitated toward the leftward moving Socialist Party in high school and later at that hotbed of 1930's radicalism, City College of New York. As a result of the Trotskyist entry (as an organization then called the Workers Party) into the Socialist party they were able to pull out a significant portion of the Socialist Party’s youth group, including Howe, when they were expelled from that party in 1938. This cohort of, mainly, young New York socialists thereafter formed a key component of the anti-Soviet defensist opposition led by Max Shachtman that split from the main body of Trotskyism, the SWP, in 1940. From there on, especially in the post World War II period with the onrush of the Cold War, these ‘third camp’ socialists made their peace, quietly or by warm embrace, with American imperialism.

The bulk of Howe’s intellectual career, as a niche magazine editor and professor at various top-notch universities, thus was spent explaining the ways of god to man, oops, American imperialism to newly minted graduate students. So, not only does Professor Howe serve here as a whipping boy for the errors of the 1930’s Trotskyists but also as a prima facie case of what happens when one’s theoretical baggage breaks away from a hard materialist conception of history. Therefore, by the time that my generation was ready to ‘storm heaven’ in the 1960’s we dismissed Howe and his intellectuals in retreat out of hand.

Professor Sorin does a very good and thorough job of describing the tensions between Howe’s branch of the Old Left and the various components of the New Left as each group squared off against the other in the Sixties. Sorin gives, as to be expected from his sympathetic portrayal, his protagonist Howe much the best of it. For our part, we of the New Left may have made every political mistake in the book due to more than our share of naiveté and overzealousness but we had a better sense than Howe and his ilk of how irrational the forces that we opposed (and still oppose) really were. But read the biography and make your own decision on that. I will have more to comment on this question in future entries.

*The House Un-American Activities Blues- The 1950's Red Scare-Woody Allen's The Front

Click on title to link to YouTube's film clip of the trailer for Woody Allen's "The Front".

DVD REVIEW

The Front, starring Woody Allen and Zero Mostel, directed by Martin Ritt, 1976

The various blanket infringements on the rights of ordinary American citizens and others since the criminal actions by Islamic fundamentalists of 9/11 hardly represent the first time that the American government has seen fit to curtail those rights. The Palmer Raids roundup of reds, radicals and foreigners in the aftermath of the Russian Revolution at the tail end of World War I comes to mind. As done the subject of this film, the 'red scare' against communist and other labor radicals after World War II with the onset of the Cold War against the Soviet Union, a former ally. The name of this period narrowly is given in the history books as the McCarthy witch-hunt era, although that hardly dose justice to the widespread political paranoia, high and low, in America at that time. The signature event was the execution of the Rosenbergs, Julius and Ethel, for passing 'atomic secrets' to the Soviet Union. As this film points out as it unfolds that political perfect storm dragged in and ruined many people from many fields, probably none more publicized than in the entertainment industry, especially film and the emerging television medium.

Woody Allen has performed many roles over the year from nerdy romantic lead to nerdy neurotic New York intellectual and social commentator but this is one of the few roles of his where the subject matter is more than just fodder for his sardonic writing or comedic talents. The story line here is rather simple, if the politics are rather more complex. Woody, a bright but underachieving New York bar cashier Howard Prince, as a favor (and to get some much needed cash as well) to his blacklisted lefty childhood television writer friend (played by Michael Murphy) agrees to “front” for him. This means that said friend does the writing and Woody gets the credit, the cash and, off-handedly as is the case with many commercial productions, the girl. In short order Woody gets to like the notoriety and the new lifestyle and agrees to front for other blacklisted writers. Then the real trouble starts.

During the early 1950’s it was not enough to write sanitary material for the mass media (approved by outsiders with their own agendas), it was not enough to apologize to various Congressional committees and their cohorts for youthful, innocent and, frankly, acceptable leftist political beliefs in order to survive in the entertainment industry (the subject here but it could have been in the trade unions, educational field, governmental service or almost any other facet of American life at the time). One had to grovel and name names. And the bulk of those who were called before the committees or faced other types of pressure did do, with regret, with relish or with indifference. But they did it.


There is an incredibly poignant sub-theme that runs throughout this film that details the pressures in the career-shattering of one of the “recanters”, Hecky Brown (masterfully played by Zero Mostel, blacklisted in the 1950’s himself as was the director Martin Ritt and some of the others), who in the end gives up Woody to the committees- finks on him, in other words. However filled with remorse Hecky commits suicide. That was not common to be sure. Hell, those were desperate times and not everyone has the courage to say no. Woody’s character, in the convoluted, Allen way does just that. And pays the consequences. So in the end there were choices. For every Elia Kazan, Elizabeth Bentley and the like there was a Howard Fast, a Dashiell Hammett and the like who said no. As some recently released information has indicated the Rosenbergs paid the ultimate price for their refusal to name names. That, in the end is what this film is all about and that is what should be honored. Just say no.

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

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…

Small Time Crooks

Everyone I hope recognizes that, if one lives long enough, that one is bound to start recycling ideas. That is the case here with Woody Allen’s partial revival of his early film classic Take the Money and Run, with a class twist. Here Roy (Allen’s character) is just as dimwitted as old Virgil of Take the Money but as an older and wiser man he knows when to quit (for a while anyway). So when Roy and his associates’ attempted bank robbery is foiled by his bugling his wife’s successful cookie shop cover operation sees them through the rough spots, again for a while. After a trip through the wilds of bourgeois New York the couple, after some disasters personal and financial, goes back to the old tricks of the trade. I am not altogether sure what this says about class mobility in a democratic society but Roy please do not call me for your next caper. Funny, in Allen’s way, in spots but not his best in this genre.

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

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…

Bullets Over Broadway

Apparently, as long as it involves a New York City scenario Woody Allen is more than happy to take a run at a plot that involves that locale in some way. Here it is the Great White Way- Broadway during its heyday in the Prohibition Era 1920’s that gets his attention (as it has before in the classic Broadway Danny Rose). What really makes this plot line very, very funny and makes the film work however is the twist of interspersing production of a play with nefarious gangster activity.

Here a struggling (weren’t we all and still are) Greenwich Village writer has a play in search of a backer and in the process a gangster ‘ghostwriter’. Up comes one backer-with a problem- his ‘doll’ wants in on the play and he needs to stay one or two steps ahead of his rivals. These antics drive the play nicely as does a brilliant performance by Diane Wierst doing a fantastic send up of Gloria Swanson as the has been actress searching for a comeback in Billy Wilder’s classic Hollywood Boulevard. This one is definitely the five star without the hype.

Out Of The Be-Bop Retro-Jazz Age 2000s Night- Woody Allen’s “Midnight In Paris”

Click on the headline to link to a Wikipedia entry for Woody Allen’s Midnight In Paris

DVD Review

Midnight In Paris, starring Owen Wilson, Rachael McAdams, written and directed by Woody Allen, Sony Picture Classics, 2011


Ernest Hemingway, Gertrude Stein, Scott and Zelda (no last name needed for Jazz Age aficionados, right?), Cole Porter, T.S. Eliot, Man Ray, Pablo Picasso, hell even Djuana Barnes are names from the Jazz Age and the American post- World War I expatriate night that get bandied about in Woody Allen’s 2011 comedic effort, Midnight In Paris. There were plenty of other names dropped as well but the above popped out in memory’s eye and serve my point. This film is a paean to that by-gone age just far enough back for Woody (and me) to not have been splashed by the Jazz Age karma but wishing, wishing like crazy, we could have lived at that time –in that city, Paris and been washed by the spectacular antics and struggles that went on there to create a modern literary and cultural world. And in the end that is Woody’s point, as he has one of his throw-back jazz Age characters pine for an even earlier time- the last quarter of the 19th century-La Belle Epogue. Nice spin, Woody.

But to the plot that brings this whole thing together in magic realistic way and without being too ham-handed on the “moral”. Woody (oops) Gil (played with some Woody-like physical and expressive mannerism by Owen Wilson) is a thoroughly modern frustrated Hollywood screenwriter who yearns to write the great American novel, or at least something other than the drivel that passes for language in most of his screenwriting. He and his fiancée, Inez (played by Rachael McAdams), are in Paris on a lark before getting married. Gil loves Paris, his version of Paris, the Paris of the American ex –pat 1920s Jazz Age when the great creative spirits of the early 20th century held forth and lit up the cultural post-war wasteland night. Inez is a little, no, a lot more bourgeois, and just wants Gil to keep making the kale so they can afford that high-end La-La land lifestyle. This will not be a match made in heaven, no question.

Gil though through cinematic magical realism finds his way back to the Paris of the 1920s around midnight each night and from there is able to find his true self, or what he thinks is his true self. Naturally a women (Pablo Picasso’s, mistress, or one of them) is there to goad him along but also to pose the question about what craving for earlier unattainable times mean. In the end Gil is “liberated” from Inez (she was two-timing him anyway with some pedantic prof) and can walk the rainy 2010s streets of Paris and really make his literary breakthrough. This is one of Woody’s better recent efforts. Proof. A person whom I respect very much as a cinematic aficionado said this is the first Woody Allen film that she could sit through to the end and wish that it didn’t end. High praise indeed.

Woody Allen Potpourri

DVD REVIEWS

Over the past year I have been re-watching some and watching for the first time other of Woody Allen’s extensive accomplishments in film as an actor/writer and director. While Allen’s efforts have, on occasion, as with all culturati sometimes been mixed the overall effect is that of a master of film. Below is a potpourri of recently viewed material in no particular order.

Hollywood Ending, 1994

NYC-LA Culture Wars, Part II

As I noted last year in a review of Woody Allen’s classic Annie Hall, which is among other things a defense of New York City as the epicenter of American culture such as it is, this is matter that has preoccupied him from early in his career as a director/ writer/actor/comic. Allen is the quintessential New Yorker so one knows where his sledgehammer will fall. In the current movie under review Hollywood Ending that same premise underlies his story line as he, once again, portrays on screen the trials and tribulations of trying to maintain some kind of artistic integrity in the world of Hollywood commercial film making.

The plot line centers on Allen’s character, Val Waxman, an aging has-been director given another chance by, of all people, his ex-wife and her boyfriend studio owner. In the process Woody, seemingly without defying the laws of probability here, is paralyzed by the prospects to such an extent that he has become temporarily blind. Nevertheless in the interest of comedy and his career (and their careers, as well) Val and his friend’s con their way through the filming of the remake of a 1940’s film about New York City that is to be the key to his comeback.

Along the way Allen gets his licks in on Hollywood culture, commercial film making and the funny premise that commercial films are so dumb, for the most part, that a blind man is entirely capable of making a bad film just like most other directors. An interesting film and, as always, full of autobiographical references, Allen’s trademark cerebral humor and his extensive use of sight gags. Well worth a look see.

Alice, 1992

As mentioned above 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-love 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 here.


Small Time Crooks, 2000

Everyone I hope recognizes that, if one lives long enough, that one is bound to start recycling ideas. That is the definitely the case with Woody Allen’s partial revival of his early film classic Take the Money and Run, this time with a sharper class twist. Here Roy (Allen’s character) is just as dimwitted as old Virgil of Take the Money but as an older and wiser man he knows when to quit (for a while anyway). So when Roy and his associates’ attempted bank robbery is foiled by his bugling his wife’s successful cookie shop cover operation sees them through the rough spots, again for a while. After a trip through the wilds of bourgeois New York the couple, after some disasters- personal and financial, goes back to the old tricks of their former trade. I am not altogether sure what this says about class mobility in a democratic society but Roy please do not call me for your next caper. Funny, in Allen’s maniacal, acerbic and cerebral way, in spots but not his best in this genre.


Bullets Over Broadway, 1994

Apparently, as long as it involves a New York City scenario Woody Allen is more than happy to take a run at a plot that involves that locale in some way. Here it is the Great White Way- Broadway during its heyday in the Prohibition Era 1920’s that gets his attention (Broadway was also the subject of his classic Broadway Danny Rose). What really makes this plot line very, very funny and makes the film work however is the plot twist of interspersing semi-serious production of a play with nefarious (and deadly) gangster activity.

Here a struggling Greenwich Village writer (weren’t they all and presumably still are) has a thoughtful dramatic play in search of a backer and as the story progresses a gangster ‘ghostwriter’. Presto, up comes one backer-with a problem- his ‘doll’ wants in on the play and (on the side) he needs to stay one or two steps ahead of his gangster rivals. These antics drive the play nicely as does a brilliant performance by Diane Wiest doing a fantastic send up of Gloria Swanson as the has- been actress searching for a comeback in Billy Wilder’s classic Hollywood Boulevard. This one is definitely five stars, with no hype needed. See it.


Celebrity

The Chinese have their years named after various animals. Apparently this year for me is the Year of Woody Allen. For the better part of the year I have been watching, and in several cases re- watching films, that the comic has acted in, produced, directed or some combination of the three. Some have been disappointing. Some, like Annie Hall, have withstood the test of time and go into the pantheon. Others, reflecting the fact that if one lives long enough, as Allen has, then one is sure to repeat themes worked in the past, sometimes with uneven results. That is the case with Celebrity. There are some very funny individual scenes that rank with Allen classics but overall we have been here before. Allen’s look at the pranks and pitfalls of celebrity in New York City (his favorite locale, and correctly so) in the mid-1990’s is the updated version of his less than funny Zelig that looked at celebrity in the Jazz Age.

Moreover, the film has an overly manic quality, particularly on the part of the frustrated male writer (surprise, surprise) and his unfulfilled and bewildered schoolteacher wife soon to be separated so that said writer can ‘find’ himself. The mannerisms (to speak nothing of a certain vague similarity of appearance) of the pair reminded me of the good old days when Woody and Mia (oops, better not mention that) held forth. Except here on speed. If you love black and white film, if you love Woody Allen and most importantly if you are new to the Allen genre then get this film. Others, veterans, can take it or leave it.

Deconstructing Harry, written and directed by Woody Allen, 1997

Okay, I will admit that finally after almost a year of watching or re-watching films that the comedic legend Woody Allen wrote, directed, played in or produced I am Woody-ed out. Moreover, there is a reason for that beyond fatigue. As I have pointed out previously in this space if one lives long enough and produces enough work then one is bound to repeat oneself. And that is what has happened to brother Allen here.

Allen’s premise has been used before as he plays the part of Harry, a writer (what else?) down with a case of writer’s block who is also having romantic problems (again, what else?) because the young woman he truly, if belatedly, loves is getting married to a lesser writer. Sound familiar? There are many individually funny moments, mainly by Allen, alone the way even if not enough to sustain the film. Naturally, as is usually the case in an Allen feature in the end things are not qualitatively more resolved than at the beginning. Well that, after all, is life.

A nice cinematic touch used here is Harry’s (Allen’s) sequencing shots to show how autobiographical most novels and short stories really are. Changing the actors in the ‘real life’ story and in the ‘made up’ stories does this well. That part also gets nicely put together at the end. No so nice here, and a bit unusual for an Allen film, is the extensive use of profanity by Allen and the rest of the cast to show their frustrations with the various antics that Harry is up to and in their own lives. Every thing is moreover just a bit too frantic, partly to justify the profanity it would seem. That may tell the tale of why I had a problem with this film, as well. If you must see a Woody Allen film you must see Annie Hall or Manhattan, if you have an off hour and one half watch this.

When Willie Sutton’s Theory Of Capitalism Ruled The Roost- Woody Allen’s “Take The Money And Run”- A Film Review

Click on the headline to link to a Wikipedia entry for Woody Allen’s Take The Money And Run.

DVD Review

Take The Money And Run, Woody Allen, 1969

This is an early film of comedian /actor/director Woody Allen starring himself in the lead as Virgil Starkwell, a bungling wannabe bank robber whose hijinks land him in prisons, in bed with a lovely girl and the halls of academia as an expert on crime. In this film we can see the outlines of Woody’s seemingly endless love affair with early black and white crime and film noir classics. There is a little more use of sight gags here than in his later films but through it all Woody is still the funny bumbling New York Jewish kid that a long series of films will explore in greater detail. The use of an old time newsreel announcer to describe and set the framework of the film and detail the action is an interesting twist. Not the best Woody Allen film but a good look at the niche that he created for himself in American urban comedy/ social commentary cinema.

*Woody Allen On Tour- "Vicky Cristina Barcelona"

Click On Title To Link To Wikipedia's Entry For Woody Allen.

DVD REVIEW

Vicky Cristina Barcelona, Scarlett Johansson, Rebecca Hall, Javier Barmen, Penelope Cruz, directed by Woody Allen, 2008

I have been reviewing Woody Allen productions in this space over the past year or so. I have highly rated such old Woody classics as “Annie Hall, “Manhattan” and “Radio Days”, those memorable films with New York City its trials, tribulations and traumas as an epicenter. I have also given mixed reviews to some of his later productions like “Manhattan Mystery” and others based in other geographic locales (“Purple Rose Of Cairo”, etc.). I was, however, fully prepared to fulsomely praise the film under review, “Vicky Cristina Barcelona”, after having heard the hype about Penelope Cruz’s performance as, Maria Elena, the talented estranged artsy wife of the central male character, Juan Antonia (Javier Bardem), a Spanish avant guarde artist. After viewing the film Ms. Cruz's performance was certainly Oscar-worthy. Nevertheless the overall production falls flat. And here is why.

Woody Allen has created an important cinematic niche for himself as a performer, director, writer and producer in that netherworld of the alienated modern urbanite, especially of distracted women unsure of their place in the world and their ability to navigate it with (or without) a man. The classic examples of such angst and confusion were various film vehicles created for Diane Keaton (“Annie Hall”) Mia Farrow (“Broadway Danny Rose”, “Stardust Memories”) and along the way Woody himself, his doubts and his inhibitions (in about six billion of his films starting with “Take The Money And Run”). Here Woody has gathered the old familiar concerns about sexual inhibitions, the vacuity of upper middle class suburban life, the eternal problems with the opposite sex and various social conventions like bisexuality, adultery, threesomes and the like. All very familiar Woody material, although not always set in Barcelona.

With the above-mentioned exception of Ms. Cruz the other characters are Woody’s stock and trade of late: young woman with various personal and social problems, with or without Woody as conduit. The truly beautiful and talented Scarlett Johansson is wooden here as Cristina. The lesser known actress, Rebecca Hall, playing Vicky's role is the same. In the end I did not care whether the two women (or three, if we include Ms. Cruz) got their issues resolved, or not. That is not a good sign in a Woody Allen film where in earlier, better film , if nothing else, we are at least left wondering about their fates. Woody, come back to your New York hearth and home with all its tangled energies, excitement, enigmas and hangups. There you are “king of the hill”. Leave Europe for the kids.

Blame It On Woody Allen, Okay?

Blame It On Woody Allen, Okay?

CD REVIEWS

Yes, here is one more thing to blame on Woody Allen, as if he hasn’t had enough problems in his life. Earlier this year I watched and reviewed in this space the film Radio Days that Woody directed. Every since then in the deep recesses of my brain the tunes Paper Dolls and Sentimental Journey have been pounding away. Hey this is music made before I was born, although maybe I picked it up in the womb. Why is it in my head? I am still a child of my generation (the Generation of '68) and fought the anti-Vietnam War fight to the tunes of Bob Dylan’s Desolation Row and The Rolling Stones’ Gimme Shelter but I think I can make a little room for this, if only to keep my brain from stopping that pounding. Directly below are a few comments from my Radio Day review that fit here and below that some specific comments on the CDs being reviewed.

"…I am a first generation child of the television age, although in recent years I have spent more time kicking and screaming about that fact than watching the damn thing. Nevertheless I can appreciate Director (and narrator) Woody Allen’s valentine to the radio days of his youth. I am just old enough, although about a half generation behind Allen, to remember the strains of songs like Paper Dolls and Autumn Leaves that he grew up with and that are nicely interspersed throughout his story as backdrop floating in the background of my own house.

I am also a child of Rock 'n' Roll but those above-mentioned tunes were the melodies that my mother and father came of age to and the stuff of their dreams during World War II and its aftermath. The rough and tumble of my parents raising a bunch of kids might have taken the edge off it but the dreams remained. In the end it is this musical backdrop that makes Radio Days most memorable to me……

….Allen’s youth, during the heart of World War II, was time when one needed to be able to dream a little. The realities of the world at that time seemingly only allowed for nightmares. My feeling is that this film touched a lot of sentimental nerves for the World War II generation (that so-called ‘greatest generation’) whether it was his Jewish families (as portrayed here) on the shores of New York’s Far Rockaway or my Irish families on the shores of Quincy, Massachusetts. Nice work, Woody."

Songs that Got Us Through WWII- Vol. 2, various artists, Rhino Records, 1994

The highlights here are Vaughan Monroe’s There I’ve Said It Again. This is the time of the male crooner and the big band orchestra and Monroe combines both here. Bing Crosby and the Andrews Sisters hit with Is You Is Or Is You Ain’t My Baby. Male crooner and three female harmonies was another trade mark of the times. Billie Holiday’s Lover Man. Let me keep this one simple- I could get through war, pestilence and the apocalypse as long as I had a Billie album with me.

Sentimental Journey- Vol. 1 (1942-1946) various artists, Rhino Records, 1993

The highlights here include, obviously, Les Brown and his band doing Sentimental Journey with a young Doris Day on vocals-nice. Dick Haymes doing You’ll Never Know is something like the crooner voice of World War II. Of course, Paper Dolls by the Mills Brothers done here with a little jump middle section is classic. A nice version of Cole Porter’s Night And Day by one Frank Sinatra. It will not replace Billie Holiday’s rendition but is very nice and with the trademark Sinatra phrasing. The top tune here though is Lena Horne doing an incredible version of Stormy Weather. I have heard this tune done by many vocalists- male and female- this is the first time I stopped what I was doing to make sure I gave it its proper due.

The 1940’s, Volume I- 16 Most Requested Songs, various artist, Columbia Records, 1989

Highlights here include the classic Sentimental Journey with Les Brown and his band. Harry James and his band doing a bang up job on You Made Me Love You. A startlingly beautiful version (I didn’t expect it to be in this kind of compilation) of Some Enchanted Evening from the Broadway musical South Pacific done by Ezio Pinza. Kudos here. The surprise is a very sensuous Latin- tropical version of Amor in Spanish done by Xavier Cugat and his band with an unknown (to me) Carmen Castillo on vocals. Wow.

16 Most Requested Songs, Rosemary Clooney, Columbia, 1989

Yes there was a musical world before 1956 and the Elvis explosion. That musical world, however, was the world of the parents, including mine, of the Generation of ’68. One of those voices was that of Rosemary Clooney. Then I thought she was square- you know with that smooth voice and ‘good girl’ image and all in a film like White Christmas with Bing Crosby. Then, several years ago, before she died I heard her in an interview on National Public Radio where she admitted to a drug problem and other little indiscretions. Of course, for this reviewer that meant that I might have to reevaluate her work now that I knew she was not really that ‘good girl’. Now a lot of her sound is still beyond the pale for me and her seeming addiction to bebop novelty songs like Mambo Italiano is off-putting but she certainly is more interesting as a singer to me now. I like the sound of Come On-A My House but what really is nice is Ms. Clooney's way with a ballad. Try Hey There and Tenderly on for size. Then work your way to Half As Much and then a nice little version of Blues In The Night and Too Young. It only took me 50 years to recognize it but Rosemary- you done good.

*"The Front" In Action- An Reenactment Of Zero Mostel's Testimony Before HUAC

Click on title to link to re-enactment of Zero Mostel's testimony before HUAC. Never forget what happened in that last red scare, that long reign of the night-takers in the Cold War night. Ever.

When Woody Allen Ruled The Social Satire (And Adult Angst) Night- “Annie Hall”

When Woody Allen Ruled The Social Satire (And Adult Angst) Night- “Annie Hall”

Click on the headline to link to a Wikipedia entry for Woody Allen’s film classic Annie Hall

Annie Hall, starring Diane Keaton, Woody Allen, 1977

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.

Out In Woody Allen’s Be-Bop New York City- “Manhattan”-A Film Review

Out In Woody Allen’s Be-Bop New York City- “Manhattan”-A Film Review

Click on the headline to link to a Wikipedia entry for Woody Allen’s Manhattan.

DVD Review

Manhattan, Woody Allen, Mariel Hemingway, 1979

In his own off-hand, low-key way Woody Allen, the quintessential New Yorker, has created a nice spoof/send up/valentine to his beloved city. If one were to name the person who represented the essence of middle/high brow New York in the 1970’s and 80’s the name Woody Allen would top most lists. The theme, as usual in an Allen film, is about the endlessly tangled interpersonal relationships among and between the upwardly mobile, or at least wannabe upward mobile, intellectual set in 1970’s New York. An added twist, given later developments in Allen’s personal life, is his tangled romance with a teenaged Waspish type (played by Hemingway), a type that he is seemingly fatally attracted to. Some of the wit may seem dated as it relates to 1970’s New York; some of Allen’s physical mannerisms seem very familiar and for those who have seen his later work the theme has been done better but here is Allen in his city. This is one of the reasons why New York, and no other, is the cultural capital of America. Beat him if you can.

Casablanca Redux, Not – Woody Allen’s “Play It Again Sam”

Casablanca Redux, Not – Woody Allen’s “Play It Again Sam”

Click on the headline to link to a Wikipedia entry for Woody Allen’s Play It Again, Sam

Play It Again, Sam, Woody Allen, 1972


Here is another early Woody Allen social commentary heavily dependent on his long time love affair with film noir and its characters, in this case the legendary romantic figure Humphrey Bogart. Now this may be a film that seems dated compared to today’s new sensibilities around the “woman’ question.” It is not clear that it would be politically correct to ask advice of the legendary Bogart on the woman question today. Bogie, except in the case of Lauren Bacall, was rough on his lady friends (or for the politically incorrect “dames”). But not to worry Woody is the same old bungling ball of nerves and anxieties as he is in most of his films. The real surprise here is that such a cerebral actor/ comedian/ director uses so many sight gags in his repertoire. Does the woman question get resolved here for poor Woody? Well watch the film and find out. You will be glad you did.

When Woody Allen Went South- South Manhattan- “Manhattan Murder Mystery”

When Woody Allen Went South- South Manhattan- “Manhattan Murder Mystery”

Click on the headline to link to a Wikipedia entry for Woody Allen’s Manhattan Murder Mystery.

Manhattan Murder Mystery, Woody Allen, Diane Keaton, 1993


Woody Allen has spent his career paying homage to various genres that have influenced him since childhood. Or he just plain liked. Here he tips his hat to the amateur sleuth murder mystery. The plot centers on the mysteriously doings of his apartment building neighbors. Spurred on by his wife (played by Diane Keaton) and pal (played by Alan Alda) he gets caught up the mystery more to save his marriage than anything else. This movie reminds me mostly of Alfred Hitchcock’s famous Rear Window from the 1950’s in its plot line but with a 1990’s sensibility. But as always not to worry there is plenty of social commentary/ humor of the well –know Allen type. Do you absolutely need to see this movie? No, you absolutely need to see Annie Hall or Manhattan films that he made in his prime. But this one is okay if you need a little funny sardonic entertainment.

***When Radio Ruled The Waves-Woody Allen's "Radio Days"

When Radio Ruled The Waves-Woody Allen's "Radio Days" (1987)-A Film Review

DVD REVIEW

Radio Days, Directed by Woody Allen, 1987


I am a first generation child of the television age, although in recent years I have spent more time kicking and screaming about that fact than watching the damn thing. Nevertheless I can appreciate Director (and narrator) Woody Allen’s valentine to the radio days of his youth. I am just old enough, although about a half generation behind Allen, to remember the strains of songs like Paper Dolls and Autumn Leaves that he grew up with and that are nicely interspersed throughout his story as backdrop floating in the background of my own house.

I am also a child of Rock and Roll but those above-mentioned tunes were the melodies that my mother and father came of age to and the stuff of their dreams during World War II and its aftermath. The rough and tumble of my parents raising a bunch of kids might have taken the edge off it but the dreams remained. In the end it is this musical backdrop that makes Radio Days most memorable to me.

Let’s be clear- there something very different between the medium of the radio and the medium of the television. As Allen’s film poignantly points out the radio allowed for an expansion of the imagination (and of fantasy) that the increasingly harsh realities of what is portrayed on television do not allow one to get away with. There is, for example, the funny sketch here involving the ‘scare’ caused by Orson Welles narration of War of the Worlds. Today the space wanderers would have to be literally in one’s face before one accepted such a tale.

Allen’s youth, during the heart of World War II, was time when one needed to be able to dream a little. The realities of the world at that time seemingly only allowed for nightmares. My feeling is that this film touched a lot of sentimental nerves for the World War II generation (that so-called ‘greatest generation’) whether it was his Jewish families (as portrayed here) on the shores of New York’s Far Rockaway or my Irish families on the shores of North Adamsville, Massachusetts. Nice work, Woody.

Thoroughly Modern Millie-And Then Some-Woody Allen’s “Whatever Works” (2009)-A Film Review Of Sorts

Thoroughly Modern Millie-And Then Some-Woody Allen’s “Whatever Works” (2009)-A Film Review Of Sorts

DVD Review

By Frank Jackman

I know exactly why I drew this assignment from current site manager and the guy who hands out the film assignments Greg Green (after having done that task at American Film Gazette for a million years, if you can believe this I worked as a stringer for him there when I was just starting out some thirty or so years ago). The problem with on-line sites is that everything can be easily archived and so Greg just looked up a few pieces I did a few years ago about a growing up hometown friend, Phil Larkin, who also occasionally writes here as well, and his travails with intergenerational sex with some Penn State graduate student whom he “met” on the Internet. Since a theme, a sub-theme as it turns out, of this so-so Woody Allen written and directed Whatever Works is the budding relationship between a twenty-something Southern (Mississippi) “baton twirler” (the main character’s characterization of her on his nice days) and a jaded neurotic older New York guy who has soured on the world after his fair shares of ups and downs that is the main play here.

(According to the blip on this effort it is not autobiographical according to Woody whose own intergeneration sexual encounter with his step-daughter whom he eventually married got him plenty of bad press in the early 1990s. I will take his word that this vehicle was intended for Zero Mostel who died shortly after he had written it and thereafter the script was shelved. Moreover autobiographical or not does not impinge on this whole subject of intergenerational sex which has certain taboos associated with it that I was trying to write about in the Phil Larkin pieces.)      

I don’t want to discuss the cinematic technique that Woody used here to present the main character jaded, neurotic Boris, played by Larry David who is talking to the audience during parts of his monologue/soliloquy to the disbelieve of all his contacts but the interplay, the as it turns out wide range of sexual play only high-lighted by Boris and his baton twirler Melody, played by Evan Rachel Wood. True to New York Jewish intellectual form Woody has Boris world wary and weary in such a way that it had all the zing of very early such Woody productions based in New York settings and made me think that in the earlier 1970s sense the thing would have been played by Woody himself casting away on Annie Hall, Manhattan, and the like.

What makes the whole shebang workable to steal from the idea that generated the writing is the total improbability of the two main characters having the slightest thing in common. Boris already described in a few words which makes the nut takes in essentially a runaway, Melody, the baton-twirler from the South who baffles Boris no end as he tries to get rid of her-for a while- and then she becomes something like a case study in the redneck ethos and non-Jewish, non-intellectual, non-New York world that Boris is clueless about. Except he had his very definite opinions about that outer world. And she, well, she sparkly and bright, bears his malice and bile. Then opposites attract. Wedding bells. Boom                

Attract for a while because intergenerational interplay (ah, sex) winds up being only one of the many ways that human beings can interact. That comes on display when Melody’s horrified mother comes up looking for what she assumed was her runaway daughter. Mother winds up having some cultural talent and she winds up with two lovers-at the same time. Father comes looking for Melody too (after a fling which broke up the marriage). Turns out he was a closet homosexual and if anyplace would be a place to cast your fate looking for a gay partner it was post-Stonewall New York. Bang, gay couple. To complicate matters Mother pulls a dipsy-doodle on Boris and Melody pulling a younger man in her path and Melody falls for him. Poor shmuck Boris-a loser. No. In desperation over losing Melody he decides to commit suicide. But in his weird world he fails hurting somebody whom he landed on who turns out to be his next wife. Heterosexual love. Bang. Makes me wonder if Woody was working his magic these days on this whatever works theme whether the talking-impaired cleaning lady and creature in The Shape of Water would merit a cameo appearance. Funny in spots if you like old-time Woody monologue/dialogue.         

Thoroughly Modern Millie-And Then Some-Woody Allen’s “Whatever Works” (2009)-A Film Review Of Sorts

DVD Review

By Frank Jackman

I know exactly why I drew this assignment from current site manager and the guy who hands out the film assignments Greg Green (after having done that task at American Film Gazette for a million years, if you can believe this I worked as a stringer for him there when I was just starting out some thirty or so years ago). The problem with on-line sites is that everything can be easily archived and so Greg just looked up a few pieces I did a few years ago about a growing up hometown friend, Phil Larkin, who also occasionally writes here as well, and his travails with intergenerational sex with some Penn State graduate student whom he “met” on the Internet. Since a theme, a sub-theme as it turns out, of this so-so Woody Allen written and directed Whatever Works is the budding relationship between a twenty-something Southern (Mississippi) “baton twirler” (the main character’s characterization of her on his nice days) and a jaded neurotic older New York guy who has soured on the world after his fair shares of ups and downs that is the main play here.

(According to the blip on this effort it is not autobiographical according to Woody whose own intergeneration sexual encounter with his step-daughter whom he eventually married got him plenty of bad press in the early 1990s. I will take his word that this vehicle was intended for Zero Mostel who died shortly after he had written it and thereafter the script was shelved. Moreover autobiographical or not does not impinge on this whole subject of intergenerational sex which has certain taboos associated with it that I was trying to write about in the Phil Larkin pieces.)      

I don’t want to discuss the cinematic technique that Woody used here to present the main character jaded, neurotic Boris, played by Larry David who is talking to the audience during parts of his monologue/soliloquy to the disbelieve of all his contacts but the interplay, the as it turns out wide range of sexual play only high-lighted by Boris and his baton twirler Melody, played by Evan Rachel Wood. True to New York Jewish intellectual form Woody has Boris world wary and weary in such a way that it had all the zing of very early such Woody productions based in New York settings and made me think that in the earlier 1970s sense the thing would have been played by Woody himself casting away on Annie Hall, Manhattan, and the like.

What makes the whole shebang workable to steal from the idea that generated the writing is the total improbability of the two main characters having the slightest thing in common. Boris already described in a few words which makes the nut takes in essentially a runaway, Melody, the baton-twirler from the South who baffles Boris no end as he tries to get rid of her-for a while- and then she becomes something like a case study in the redneck ethos and non-Jewish, non-intellectual, non-New York world that Boris is clueless about. Except he had his very definite opinions about that outer world. And she, well, she sparkly and bright, bears his malice and bile. Then opposites attract. Wedding bells. Boom                

Attract for a while because intergenerational interplay (ah, sex) winds up being only one of the many ways that human beings can interact. That comes on display when Melody’s horrified mother comes up looking for what she assumed was her runaway daughter. Mother winds up having some cultural talent and she winds up with two lovers-at the same time. Father comes looking for Melody too (after a fling which broke up the marriage). Turns out he was a closet homosexual and if anyplace would be a place to cast your fate looking for a gay partner it was post-Stonewall New York. Bang, gay couple. To complicate matters Mother pulls a dipsy-doodle on Boris and Melody pulling a younger man in her path and Melody falls for him. Poor shmuck Boris-a loser. No. In desperation over losing Melody he decides to commit suicide. But in his weird world he fails hurting somebody whom he landed on who turns out to be his next wife. Heterosexual love. Bang. Makes me wonder if Woody was working his magic these days on this whatever works theme whether the talking-impaired cleaning lady and creature in The Shape of Water would merit a cameo appearance. Funny in spots if you like old-time Woody monologue/dialogue.