Woody Allen: Reel to Real is a new e-book from Take2 Publishing. Written by Alex Sheremet, the author examines, in-depth, the Woodsman’s complete film career, right from its earliest days to the present. He examines, not only Woody’s directed films, but those he had a role in as an actor. The book is the most far-reaching analysis of Allen’s career so far. Continue reading
The 1970’s were not a good time for romantic comedy, that is, until 1977 when Woody Allen, who had been making films since 1966 (What’s Up, Tiger Lily), released a little film called Annie Hall. Woody had been directing and writing films throughout the decade. They started off episodic and even visually sloppy; however, they all had one thing in common, they were funny. But with each film Woody’s visual style improved, he kept getting better and better. Then in 1977 came a giant leap. Continue reading
Woody Allen’s love of New York and movies is legendary. Many times over Woody has incorporated these two loves into his films. As a consequence, Woody films are not only entertaining works of art, but have becomes historical documents of a time gone by. Woody’s location shooting on the streets of New York is well known and many of the locations; stores, buildings and cinemas are sadly no longer in existence. They are gone, destroyed for many reasons; old age, bankruptcy, outgrown their usefulness or ever worst…progress!
Over the past several decades New York’s classic movie theaters have pretty much been decimated! At one time there were many, many theaters and now the few that are left standing have been turned into churches, bingo halls, furniture stores, flea markets, left vacant or torn down. In their place today we have the cold, bland multi-plexes of modern day movie going. At one time there were well over thirty movie theaters in the Times Square/Broadway/42nd street area of midtown. Now there are two multiplexes on 42nd Street and not one movie theater on the Broadway/7th Avenue crossroads replaced instead by Corporate America’s candy land of shops from Disney to Hershey’s to Swatch and others symbols of modern day consumerism. Once the center for the arts in America (stage, screen, television, music, nightclubs, etc.), Times Square has been turned into an glittery outdoor mall for tourist.
Fortunately, thanks to Woody Allen, many of the movie theaters that once graced New York can still be seen or at least glimpsed at in his movies. My list here is not comprehensive, but I believe I cover most of the cinemas Woody has shown in his films, from Broadway to the Upper West Side and Upper East Side of Manhattan to Brooklyn. Continue reading
When I saw “Stardust Memories” for the first time back in 1980 (Baronet Theater in Manhattan) I was completely lost as to what Woody Allen was doing. Filled with Fellini like imagery, bizarre inhabitants straight out of Diane Arbus and seemingly resentful, bitter attacks on his fans. I found the film, to say the least, hard to swallow. I wasn’t and am not one of those folks who keep wishing Woody would trek back to his ‘funny’ early films. I actually relished his celluloid journey, his growth from dubbing a cheesy Japanese spy flick with completely new dialogue turning it into “What’s Up, Tiger Lily?’ through his early visually clumsy, but oh so funny, films like “Take The Money and Run” and ‘Bananas” to his classic “Annie Hall” and on to the Bergman like “Interiors” and the homage to his home town in “Manhattan.” Woody always seemed to be expanding his artistic horizons. At the time of its original release, I chalked up “Stardust Memories” as a failure, hell everyone is entitled to a failure now and then, right?
Now, let me just say here, I watch many of Woody’s film all the time, over and over, true some more than others, I have lost count on how many times I have seen “Manhattan,” “Bananas,” “Sleeper,” “Manhattan Murder Mystery,” “Annie Hall, “Hannah and Her Sisters,” “Broadway Danny Rose” and so on. His films are like old friends with whom you gladly sit, have a drink, and reminisce about those days gone by. The one film I never went back to was “Stardust Memories.” Frankly, until I watched it for the first time in years, just a few months ago, I remembered little about it except for the feeling of confusion I had and a why bother attitude about taking a second look. One day I found a copy at a local library and for no particular reason decided to give it another shot. All I can say is hallelujah brother! I have been seen the light and have been converted! Continue reading
In “Manhattan,” Woody Allen’s New York is a world filled with artists, poets, musicians, writers, intellectuals and psychoanalyst. It’s an oasis of art galleries, museums, books and neurosis. Gershwin’s “Rhapsody in Blue” fills the air as Gordon Willis’ superb black and white photography paints a majestic world of urban beauty. Filmed in Cinemascope, the black and white images instill a sense of character with every image we see. The city itself is the main character in this film with everyone else in a supporting role. John Baxter in his excellent biography on Woody states accurately, “While the opening montage recalls the unblinking succession of images with which Antonioni closed L’Eclisse in 1962, Allen’s use of the city as a character exactly parallel’s Fellini’s treatment of Rome in La Dolce Vita.” Baxter also notes other similarities including the ending “in which Marcello Mastroianni tries to talk to the girl on the beach, only to find they can’t communicate.” This easily parallels Isaac’s attempt to mend his relationship with Tracy just as she is leaving for London. Continue reading
“Broadway Danny Rose” opens at the famed Carnegie Deli located in midtown Manhattan, known for its huge Pastrami and Corned Beef sandwiches and as a well known show business hangout for many of the old time Borscht Belt comedians of yesterday. At one table dishing out old show biz stories are comedians Corbett Monica, Sandy Baron, Jackie Gayle and Will Jordan among others all playing themselves. Also in the group is Jack Rollins, Allen’s long time producer. The tales go around, back and forth, names come and go until Sandy Baron announces he has the best Danny Rose story ever. We flash back to a time not too long in the past.
Danny Rose (Woody Allen) is a fourth rate theatrical agent whose client list is filled with some of oddest acts in show business including a one legged dancer, a woman who plays musical glasses, a blind Xylophonist and a stuttering ventriloquist. Danny is a good hearted loser who believes in his clients worth no matter how bad they are. He is willing to go to the extreme to keep his acts happy and get them jobs. It’s this dedication that gets him in trouble when he becomes involved with his top client’s mistress and some unfriendly gangsters who mistake Danny as her lover. Continue reading
We are transported back to 1953 with a series of newsreel clips featuring Joe DiMaggio, Marilyn Monroe, Harry Truman, The Korean War, Bomb Shelters, the Rosenberg’s while on the soundtrack Frank Sinatra sings “Young at Heart.”
Woody Allen stars and Martin Ritt directs this tale of nebbish luncheonette cashier and part-time bookie, Howard Prince. Childhood friend Alfred Miller (Michael Murphy) now a writer of live TV dramas informs him one day that he is no longer employable, blacklisted by the Freedom Information Service, a group working for the TV networks screening employees suspected of being communists. Miller tells Howard he needs another name, a real person and offers to pay Howard ten percent of his income if he is willing to put his name on the cover of the scripts he writes and act as a “Front.” Desperate for money, and a loyal friend, Howard, not fully realizing the potential implications, agrees to the deal. He is soon a successful and in demand writer ‘Fronting’ not only for Alfred but two other blacklisted writers. His success draws praise and admiration from the show’s producer Phil Sussman (Herschel Bernardi), and script editor Florence Barrett (Andrea Marcovicci) who he soon begins dating. Howard also meets Hecky Brown (Zero Mostel) a former Vaudeville comedian now on television, and under the watchful eyes of the Freedom Information Service.
Howard’s success leads to fancy clothes and a ritzy apartment. He also comes to believe the praise bestowed upon him by the network brass and he begins to reject some scripts submitted to him by the writers as beneath his standards. Hecky meanwhile, is hounded by the blacklisting group and is “encouraged,” for his own good, to spy on and inform on co-workers, like Howard who the agency has been looking into but cannot find any proof he was ever a party member but, the investigator adds when talking to a TV exec, they cannot prove he was never a party member either. Everyone is guilty until proven otherwise. Continue reading