A caricature that marvelously captures Woody Allen’s signature look by the one and only, Al Hirschfeld.
“Life doesn’t imitate art, it imitates bad television.” — Woody Allen
Woody Allen is one of the most prolific and unique voices in American cinema. To quote a friend; “When Woody Allen is at his best, he’s one of the best.” I wholeheartedly agree.
In his long cinematic career as writer, actor and director, Woody Allen has created over 53 films in his sixty plus years. He’s as famous as much for his brilliant writing and studious humor as he is for the character he often plays — a slightly neurotic yet likeable Jewish left-wing intellectual living in New York City. In reality, this persona is ironically nothing like him at all — Allen’s known to inner circles to be calmly articulate, organized, athletic and a wicked Jazz musician and enthusiast. He also doesn’t get enough credit for his acting abilities because he plays his character so well. No one ever accused Charlie Chaplin of being a type cast actor for creating the Tramp.
“I’ve never been an intellectual but I have this look.” — Woody Allen
Woody Allen, seen here playing his clarinet with his New Orleans Jazz Band inside the legendary Café Carlyle at the ripe old age of 75.
Woody Allen created a personal and distinct style of writing, acting and directing that’s unique in an industry that’s sorely lacking in diversity and innovation. And despite making films on very low budgets that appeal primarily to more sophisticated yet limited audiences, he still manages to be continually busy and make so many of the kind of films that no one else gets to make. Famous actors have lined up to be cast in his movies and every one of them takes significant pay cuts to do so. (His actors are paid an identical fixed fee.) This isn’t all so surprising considering his films have garnered over 18 Oscar Nominations for acting alone. As for Allen himself, he’s received 24 nominations and has won 4 (one for Best Picture and three for Best Original Screenplay). That said, he’s true to his principles of avoiding spectacles and excessive accolades. He has never once attended the Academy Award Ceremonies.
Woody Allen — A Documentary (2012) is a marvelous film about the prolific American filmmaker. Directed by Robert B. Weide.
“I think being funny is not anyone’s first choice.” — Woody Allen
Today we’ll look at four of what I feel are his best films — Annie Hall, Hannah and Her Sisters, Crimes and Misdemeanors and Manhattan— my personal favorites. Each one delivers a combination of innovative cinematography, brilliant writing, memorable characters and, of course, his signature humor at its very best. Whether you’re a story artist, camera enthusiast, editor or animator, you will learn much from his films. The writing, cinematography, cutting and acting are all first rate.
If you haven’t seen these films, or have not seen them in some time, I highly recommend grabbing a free night for a viewing. Woody Allen is one of the most creative voices America has ever produced.
Annie Hall (1977)
In Annie Hall, Woody Allen created a film first with his now trademark humor, deeply introspective characters and playful plot developments that surround themselves around one central theme — the romantic human relationship. The story begins with the childhood upbringing of standup comedian Alvie Singer, played by Woody Allen himself, but dives very quickly into his relationship with Annie Hall, played by Diane Keaton (who would go on to win an Academy Award for her performance as Best Actress).
A creative and comical scene set in upstate New York where Alvie Singer (Woody Allen) is introduced to the upper-middle class family of his girlfriend Annie Hall ( Diane Keaton). The innovative split screen interaction with Alvie’s lower Brooklyn family magnifies the wonderful contrast in their status and cultural upbringing.
From the excitement of new found romance to the final break up, all the wonderment and inevitable challenges that relationships go thru are explored here in depth. Allen does this while toying with recurring themes such as creative integrity, psychoanalysis, anti-semetic paranoia and even the merits of adult education. It’s a delicious tale that holds its viewer from beginning to end with originality and humor. The film signaled the arrival of Woody Allen as a premier film-maker, winning him his first Oscars for Best Picture and Best Original Screenplay. Buoyed by memorable scenes and a sensational Diane Keaton (who delivers a performance that captures the spirit and beautiful nuance of femininity as perfect as any portrayal I’ve ever seen), it’s a film that’s worth multiple viewings. It’s arguably the funniest film he ever made.
Hannah And Her Sisters (1986)
Hannah and Her Sisters is a story about three sisters whose lives are intricately linked by their famous yet overtly dramatic former movie-star parents and their relationships with men. Hannah, played by Mia Farrow, is the perfect sister — too perfect for anyone’s liking, including her own husband, played marvelously by Sir Michael Caine who also happens to be lustfully obsessed with Hannah’s youngest sister Lee, played by Barbara Hershey. Lee is young, bright and beautiful but completely unsure of herself and the direction of her life. The middle child Holly, played by Diane Wiest, is the offbeat and neurotically-insecure sibling —considered by the family (and herself) as the undesirable and talent-less “loser” of the three sisters.
A surprising yet delicately textured scene that exposes Elliot’s (Michael Caine) longing for Lee (Barbara Hershey) and how far he’s willing to go to pursue her. The setting is the most unlikely of places for Elliot to make an advance towards his target— inside the apartment of Lee’s live-in boyfriend Frederick (Max von Sydow). The scene ends in wonderful two-folded conflict, first between Lee and Elliot, and then almost at the same time, between Frederick and Rusty (Daniel Stern) who are engaged in the negotiation of a possible art purchase arranged by Elliot himself, concluding how ridiculously far and stupid men can get when overcome with lustful obsession.
The intertwined actions and reactions of the three sisters and their counterparts make for fun social experiment. Sometimes poignant, other times laugh-out-loud funny, the movie bounces elegantly yet playfully between moments of beautiful human desire and fear. Hannah and Her Sisters is one of the richest yet most positive stories told by this master story-teller.
Crimes and Misdemeanors (1989)
Crimes and Misdemeanors is Woody Allen’s most daring and challenging film. It’s one that not only ponders the meaning of existence but also how the interpretation of life’s events plays into our own beliefs. Allen beautiful juxtaposes these questions in the telling of two stories, one a drama (the crime of murder) and the other a comedy (the misdemeanor of questionable flirtation).
In the story of Judah Rosenthal, Martin Landau plays an upper class ophthalmologist (the theme of seeing and being seen is a powerful metaphor here) who is challenged with dealing with the obsessive clinging by his mistress played with empathy and consuming intensity by Angelica Houston. In his decision to rid himself of his problems — since she threatens not only his marriage but the revealing of Judah’s financial indiscretions — he’s forced to confront his ethics and religious upbringing. It’s a test of whether he can weather the storm of his own fears knowing that the eyes of God are watching.
In a chilling scene, bathed in shadow and ominous lighting, Judah (Martin Landau) contemplates doing the darkest deed — murder — as he lays out his dilemma before his friend and client Ben (Sam Waterson), a Rabbi sworn to trust and confidentiality.
In the second story, Woody Allen plays Clifford Stern, a financially deficit, but seemingly noble documentary filmmaker who seeks hope and redemption through the possible romance with his producer, Halley Reed, played by Mia Farrow, who also happens to be the targeted love interest of his brother-in-law and super-successful TV mogul Lester (brilliantly played by Alan Alda) whom Clifford vehemently despises. Clifford, who proudly voices his economically self-sacrificing way of life, is conflicted in his choice to pursue Halley given that he is married.
A short but funny moment between Clifford (Woody Allen) and his brother-in-law Lester (Alan Alda) regarding finance and the integrity of film-making.
Crimes and Misdemeanors is brilliant not only in its execution of such complexity in story-telling but also in the way that it tempers the emotional heaviness of the viewer — deftly balancing the scenes of dark and serious drama with moments of witty and delectable humor. There’s a plethora of rich acting performances and purposefully subdued cinematography (by Sven Nykvist who is famous for his gorgeous work with the legendary Swedish filmmaker Ingmar Bergman). The film may be nihilistic —it pulls no punches with its themes — but it’s also daring and gripping story-telling that’s illuminated with creative discourse and compassion. This is Woody Allen’s boldest film.
Manhattan (1979)
Manhattan is Woody Allens’ most sumptuous film. Shot in glorious black in white by the incomparable Gordan Willis (who also photographed Francis Ford Coppola’s The Godfather) it’s a film that resonates with anyone who’s ever lived in New York City. A story about unrequited love, social approval and loss, it’s also an essay on maturity, suggesting that it might have little to do with age. This is evidenced by the subtle yet poignant portrayal of the romance between Isaac (Allen) and the teen-aged Tracy (played with beautiful innocence and sincerity by Mariel Hemingway). But convinced by both himself and his friend Yale (Michael Murphy) that a relationship with a girl half his age is not worthy of further development, he focuses his attention on the alluring Marie (Diane Keaton) who shields her own loneliness and insecurity with her high level of intellect and esprit. The problem is that Marie is also Yale’s former mistress and this makes for interesting emotional baggage.
Isaac (Woody Allen) and Tracy (Mariel Hemmingway) bump into Yale (Michale Murphy) and Marie (Diane Keaton) at New York’s Museum of Modern Art and go on to engage in an academic and comical debate about art.
Manhattan is a film that juggles the delicate moments of human life in the midst of big city aspirations in the world’s most interesting place in the 1970’s, New York City . The look, feel and sound (Gershwin!) of Allen’s Manhattan captures a time and place that is forever unique to America and to American cinema. It’s perhaps the most beautiful film in the Woody Allen library.
In Summary, the films briefed here are the meatiest in terms of originality and theme. But Allen’s made many excellent movies: A Midsummer Night’s Sex Comedy, Husbands and Wives, Zelig, Everything You Wanted to Know about Sex but Were Afraid to Ask, Bullets over Broadway and, more recently, Before Midnight to name but a few more. They are all worth exploring. In fact, even when he’s not in top form, his films are better than most of his peers. That’s the trademark of greatness.
“If you want to make God laugh, tell him about your plans.” — Woody Allen