If you're fascinated in the roots of Jewish humor -- or the humor of Jewish roots -- you must read Mark Harris' terrific piece in New York Magazine about Woody Allen and Larry David and their new movie, Whatever Works, originally written by Allen in the '70s for Zero Mostel and repurposed for David. If the film is half as funny as Harris' article, which wonders, if the archetypal funny/sad Jewish guy "still has any relevance in an age when American Jews don’t feel so bad about things, except on Yom Kippur," it'll be better than three of Allen's last four films.
Except for Vicky Cristina Barcelona, a light-filled account of a pragmatist and a romantic in Spain, I've been disappointed in Allen's recent work. Match Point and Scoop felt like tragic and comic interpolations of the murder and opportunism, idealism and romance themes played so superbly in Crimes and Misdemeanors. Here's hoping that Allen's return to his beloved Manhattan is a restorative.
Not that you asked, but the Allen movies that most move me are from his middle period that started with Annie Hall (1977) and ended with Crimes (1989). By then, he had done his "earlier, funny" genre parodies (as a character in Stardust Memories puts it) and emerged as a filmmaker with his own style and voice. (At a tribute to Bob Hope that Allen put together in the 1970s for Lincoln Center, he admitted to being horrified at the extent to which he had stolen Hope's one-liners and persona as a self-conscious schnook.) My top-five Allens are Annie, Manhattan, Purple Rose of Cairo, Crimes and Deconstructing Harry. Everyone Says I Love You is a not-so-guilty pleasure: I love hearing Ed Norton and Tim Roth sing and watching Goldie Hawn dance. You?
I still watch Zelig and Broadway Danny Rose repeatedly. They have held up wonderfully.— Bob Ross- I always go see Woody Allen films, even if they are subpar, because one day he will stop making them. His latest crop has been better than JADE SCORPION and HOLLYWOOD ENDING (his career nadir, I think). I trend towards his darker films: INTERIORS, HUSBANDS AND WIVES, CRIMES AND MISDEMEANORS, ANOTHER WOMAN, but his best is arguably, MANHATTAN because of its brilliant script! As for EVERYONE SAYS I LOVE YOU...well, it has a special romantic place in my heart.— garyk
- I did indeed read the article and laughed and loved it. And I'm keeping my fingers crossed about Whatever Works. Nothing will ever top Annie Hall in my book. Nor will anyone top Diane Keaton. But we keep going because hope never dies.— CPven
Comment removed.- The idea of Larry David starring in a Woody Allen film actually has made me look forward to a new Allen film for the first time in more than a decade. I haven't enthusiastically liked anything that he's done since Bullets Over Broadway, but his real hot streak peaked with Crimes and Misdemeanors.— edwardcopeland
- Manhattan is my favorite - it actually made me decide to move to Manhattan, I liked it so much. (Very disappointing to discover the city did not exist in glorious black-and-white.) I'm surprised no one has mentioned Hannah and Her Sisters. I'll add Radio Days, one of my favorite entries into the small but lovely genre of "filmmakers nostalgic for their childhoods." Of the "early, funny ones," his very first, "What's Up, Tiger Lily?," still kills me. Besides dozens of quotable lines, it also gives us the Lovin' Spoonful on film, a nice little bonus.— wwolfe
- One of my favorites of his is "Sweet and Lowdown." Everyone forgets about that one but Sean Penn's performance is near-flawless.— taitdog
- Carrie- I agree with your five - Annie Hall, Manhattan, The Purple Rose of Cairo, Crimes and Deconstructing Harry and Everyone Says I Love You. But I'd add a sixth: Husbands and Wives, which is my favorite Allen, hands-down. I also appreciate the much-maligned Stardust Memories. Oddly, the one Allen which leaves be absolutely cold is Hannah and Her Sisters. I don't like it because I don't like that family.— Pash
- Pash: Interesting. Hannah likewise gives me hives (though I love Woody Allen's reaffirmation moment at the movies where he watches "Duck Soup" and finds God). It is also his most commercially successful film.— carrierickey
- Postscript: Of his more recent titles, I think "Casandra's Dream" got a raw deal. Hugely watchable. Colin Farrel had an impressive year in 2008, what with that and "In Bruges."— Pash
- I prefer the earlier, funny films.— ccjroberts
- Thanks, Carrie, for pointing out that NYM article. I like your top five list with one exception: I thought Rose was overrated and I loved Husbands and Wives. But let's not forget how we felt seeing Take the Money and Run, Everything you always wanted..., and the other "early, funnier" movies...all classics. I do like that you include Harry in there; so biting it was hard to watch at times (esp. the opening scene). And to me, there is nothing to feel guilty about with ...I love you. I loved it and can watch it over and over. Ed Norton was awesome! I do lament that fact that he seems to have lost a lot of his edge of late and too many films are just middling efforts that feel tired. Matchpoint was overrated, and I finally caught up to Cassandra a week or so ago and thought it was better than it was rated by most but just not very original. I've been a Woodyphile forever, and it hurts to see so many films go by and be so easily forgotten. Jade Scorpion was his nadir. But I hold out hope that day he can strike again. I look forward to seeing Whatever Works as I anticipate all his films.— Scott B.
- Readers asked me to post this: Hi Carrie: Since you asked: Our top five Woody Allen films are: 1. Hannah and Her Sisters 2. Annie Hall 3. Crimes and Misdemeanors 4. Sleeper 5. Vicki, Christina Barcelona We always enjoy your reviews. Keep up the good work! Rick and Su Carter Ardmore, PA— carrierickey
- "Bullets Over Broadway" never fails to make me laugh, especially in the scene when Chazz Palmintieri (mob bodyguard to Jennifer Tilly's airhead actress) makes suggestions on how to improve John Cusack's terrible play, and all the actors fall silent because they realize he's absolutely right. Also, two early comedies: "Take the Money and Run," ("This says, 'I have a gub.' What is a gub?") and "Bananas," if only for the scene when a young unknown actor named Sylvester Stallone appears as a thug on the subway.— J H
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