In looking back at the 1980’s I was surprised how rich the decade was in comedies. Films that could have made my list but did not include Airplane!, Planes, Trains and Automobiles. The Naked Gun, Tootsie, Spaceballs and Stripes. There are others, but you get the idea. The 80’s included one of the last great romantic comedies along with Woody Allen continuing to produce some great films and the underrated Albert Brooks.
You can find earlier post in this series easily by clicking right here!
The 1970’s in film ranks as one of the best decades in its history. It’s up there with the 1930’s and 1950’s. The Godfather 1 & 2, Mean Streets, The Last Picture Show, One Flew Over the Cuckoo’s Nest, Five Easy Pieces, All the President’s Men, American Graffiti, Taxi Driver, Jaws, Apocalypse Now, The Exorcist, Chinatown, A Clockwork Orange, Rocky, The Sting, The Shining, Dog Day Afternoon, The French Connection, The Conversation, Serpico and many more. Comedies had their share of greatness too, led by Woody Allen and Mel Brooks, in a decade that thrived on great cinema. Continue reading →
If you expecting to find at least one of those Doris Day comedies to pop up on this list, well sorry but Ms. Day, with or without Rock Hudson, will be found nowhere on site. I am not an admirer, or fan. Day does have a nice comedic touch and some of her comedies are pleasant (Pillow Talk and Lover Come Back), but her virginal, sugary, spunky self, I just find annoying. Like Mary Tyler Moore’s Lou Grant once said, “I hate spunk.” I don’t mean to turn this into a tirade against Ms. Day, but in the 1960’s, the times, they were a changin.’ and films like With Six You Get Eggroll did not cut it. Anyway, here is my list for the decade that helped defined me.
My love for movies began after my parents and I, moved from Manhattan to Brooklyn. I was just a few days shy of my eleventh birthday and was, and still am, an only child. I was on the shy side in those days making it hard at times to make new friends. There were plenty of kids around my age in the apartment building we moved to; still, it was not an entirely smooth transition. Movies became my outlet. Nearby was the Loew’s Oriental, a large majestic theater within walking distance. My other movie outlet was TV. New York City television during those early years, long before home video, was a treasure trove, a repertory theater filled with old films…only with commercials. There was The Early Show, The Late Show, The Big Preview, The 4 O’clock Movie, The 4:30 Movie, The Late Movie, Five Star Movie, Chiller Theater, and the best of all, Million Dollar Movie.
The Hollywood Blacklist was one of the most notorious outcomes resulting from the creation of the House Committee on Un-American Activities (HUAC). Originally formed in 1938 to investigate American citizens with Nazi affiliations, the committee became famous in the late 1940’s and early 1950’s. This occurred when a House of Representatives run commission began to investigate the private lives of American citizens suspected of being members, sympathizers or having any sort of connection to the Communist Party. Soon after, ten Hollywood writers and directors, the famed Hollywood Ten, were cited for contempt and each one was sentenced to jail for refusing to testify before the HUAC. Continue reading →
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 →
“You have to have a little faith in people” – Tracy.
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 →