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Wow... I thought the Banana blowjob scene was the funniest thing Woody's ever directed. Maybe one of the funniest things I've ever seen. And I saw it with my mum! And I've seen all his films apart from the newest two.

I thought Celebrity was pretty damn good. I find it funny how the critics have been saying that [insert Woody film] is a return to form ever since his post Interiors work. I know not all the critics do, but there's always ONE critic who has to say those words; return to form.

Matt wrote:

Andre Jurieu wrote:... except for Hollywood Ending.

Well, at least Hollywood Ending had some laughs at Allen's expense in the bits with the Chinese cinematographer. Plus, it was one of the most beautifully shot comedies I've ever seen.

now that I've seen all (yes!) of his movies, I find Hollywood Ending and A Midsummer's Night Sex Comedy to be far and away his worst films. However, I don't like Sleeper or Hannah and Her Sisters and I'm the only person I've ever encountered who thinks Curse of the Jade Scorpion is one of his most laugh-out-loud funny films (though I'd love for anyone to have my back on this). I think his late 70s period gets over-romanticized, and aside from Love and Death (his funniest film if you don't count Play It Again, Sam) for me his most consistent work is his 80s and early 90s Mia Farrow periods, particularly Husbands and Wives, Broadway Danny Rose, Shadows and Fog, and the criminally underrated Alice.

The Guardian's film blog makes a rather unconvincing plea for Woody Allen to return to Manhattan to make films. It conveniently fails to mention that shooting in the UK (and now Spain) has offered Allen both a critical and creative resurgence in his work. But then again, the author of the piece seems to not have seen Allen's recent work at all.

jorencain wrote:

Annie Mall wrote:Oh, and speaking of Bergman, Woody's trio of movie homages to him, namely Interiors, September and Another Woman are undoubtedly among my very favorite of his so I guess to each his own.

I can really do without "Interiors" but I absolutely love the other 2, and "September" is definitely one of his 3 or 4 best films, in my opinion.

Tonight I finally got around to watching Interiors (I haven't yet seen September or Another Woman) but I couldn't help but feel disappointed. I loved the cast, but I felt Allen's first foray into drama had quite a few contrived moments and unfinished plot threads.

Spoiler

For me, the film lost me during the quasi-rape scene and the discovery of Flyn's cocaine habit.

And while Allen's work in developing a Bergman-like atmosphere is a success, I really just didn't care for these characters or their stories. To me, it almost wasn't tragic enough. While I understand that Allen was trying to convey the consequences of family not living up to (or surpassing) expectations, I felt that too much of the film wallowed in petty bickering rather than the more existential issues I appreciate in Allen's other dramatic work like Crimes & Misdemeanors and Match Point.

I feel pretty much the same way about 'Interiors', although I really enjoyed Maureen Stapleton in it. 'Another Woman' is much better in my opinion, but I'm generally unmoved by Allen's straight dramas (Match Point is a major exception). They are well-done but they seem almost artificially dour.

Interiors is the only Woody Allen film I would call a complete failure. More than any of Woody's other works, it's the movie that most deserves the knee-jerk criticism that his films are nothing but unysmpathetic, rich people arguing about their unsympathetic, rich people problems. Echoing Dusty's sentiments, Allen mentioned in Stig Bjorkman's book that if he were to make it today, he would introduce Maureen Stapleton much earlier. For my money, something as simple as that would have drastically improved the movie. A score would have helped too.

Okay, boys; let's step out of those claustrophobic INTERIORS and settle this man to man.
INTERIORS was quite a punch in the gut for me (notice the continuation of manly metaphors) after seeing ANNIE HALL the year before. I found it quietly devestating and I have never forgotten it. It is difficult for me to articulate my appreciation of this movie so I did what all real men do - I consulted my wife. She has informed me that the movie provides one of the very best views men will ever get of how women continually delude themselves on many subjects; particularly marriage and men.
When the husband wants a trial separation and says "it's only a trial separation...it's not irrevocable", woman latch on to this and are foolish enough to actually believe it, when men immediately know it's over. Everything that follows emotionally is astoundingly accurate (says the boss, I mean my wife) and is exactly the opposite of not being tragic enough. We have a specific upper class group here but the emotional truth is universal (or so says the old ball and chain).
Now that she has finally left the room I can say what I really feel - Woody has made a couple of stinkers, but this ain't one of them.

The testosterone level is staggering!

Woody Allen to direct the L.A. Opera, launching the 2008-2009 season. I didn't think Allen could be any more prolific than he already is, but with two films on the horizon, and the L.A. Opera, he's also just published a new book of short stories called Mere Anarchy. Here's an excerpt.

Antoine Doinel wrote:Woody Allen to direct the L.A. Opera, launching the 2008-2009 season.

You know I can't see it. It's dificult to comprehend. I'll definatly go though, too bad they are typical for L.A. Opera with something ordinary like Puccini.

The Elegant Dandy Fop wrote:You know I can't see it. It's dificult to comprehend. I'll definatly go though, too bad they are typical for L.A. Opera with something ordinary like Pucinni.

I saw William Friedkin's Gianni Schicci and couldn't tell it was a Friedkin piece. So much of the pacing is determined by the music anyway, and considering that Woody Allen isn't known for his staging, you're probably not going to be able to tell that Allen was behind it.

Puccini ordinary?

kinjitsu wrote:Puccini ordinary?

Cliche was the word, sorry. I love Puccini. I don't know, I would love Woody Allen to tackle someone like Mahler or someone more modern. That's all they play at the L.A. Opera, but I'm not saying Puccini is bad, far from it. I would just love the L.A. Opera to try something new, especially with someone like Woody Allen at the helm.

Well, with Woody Allen is guarantees two things. A modest production, which is a good thing. I'm not a fan of Peter Sellars who's staging I find too elaborate and distracting from the music., and was running the L.A. Opera for a while. Second, it means more money from Allen, which means more movies. So we win regardless.

The Elegant Dandy Fop wrote:

kinjitsu wrote:Puccini ordinary?

Cliche was the word, sorry. I love Puccini. I don't know, I would love Woody Allen to tackle someone like Mahler or someone more modern.

That's all they play at the L.A. Opera, but I'm not saying Puccini is bad, far from it. I would just love the L.A. Opera to try something new, especially with someone like Woody Allen at the helm.

I don't know if cliché is the right word either, however, there are clichés aplenty throughout Puccini's work. Warhorse might be the word you are looking for, but I don't consider Trittico to be a warhorse, although La boheme and Madame Butterfly certainly are. Anyhow, Domingo said it took him four years to convince Allen to direct an opera, and since Gianni Schicchi is a comedy, the shoe must have fit.

What did you have in mind, something modern like Berg's Wozzeck or Lulu, or maybe Schoenberg's Moses und Aaron?

Jenufa, Rise and Fall of The City of Mahagonny, and Porgy and Bess are as modern as it gets this season, but I can't imagine Allen getting excited about any of these, save perhaps the latter, if only for his affection for Gershwin's music.

By the way, Mahler did not compose operas, and the helm is located in the pit.

kinjitsu wrote:What did you have in mind, something modern like Berg's Wozzeck or Lulu, or maybe Schoenberg's Moses und Aaron?

Jenufa, Rise and Fall of The City of Mahagonny, and Porgy and Bess are as modern as it gets this season, but I can't imagine Allen getting excited about any of these, save perhaps the latter, if only for his affection for Gershwin's music.

By the way, Mahler did not compose operas

Got confused. My bad, yo. I was thinking about works like Das Lied von der Erde. I should read up more on my opera. Definitely can't see him doing anything like Mahogonny, but Porgy and Bess would be interesting to see him do, but honestly, I can't see him doing it either!

Woody Allen's next film has a title - Midnight In Barcelona.

So, what do Iranians think of Woody Allen?

Shame on you for linking to that.

No harm intended, just though that their view of his comedies was nuts.

I think Iran knows a little something about comedy, show some respect you cretins

Which film were the (American Revolution?) war clips from? You know, the ones with the cannon.

lord_clyde wrote:Which film were the (American Revolution?) war clips from? You know, the ones with the cannon.

Love and Death

Thanks, I've been trying to see as much Allen as possible, but the only films they keep in stock locally are Scoop, Hollywood Ending, and Hannah and Her Sisters.

Cinematographer Gordon Willis on shooting Manhattan.

lord_clyde wrote:Thanks, I've been trying to see as much Allen as possible, but the only films they keep in stock locally are Scoop, Hollywood Ending, and Hannah and Her Sisters.

Love and Death stands firmly right behind Manhattan as my 2nd favorite Allen film. You've gotta see it.

Of the 22 Allen films I have seen, Manhattan is my favorite, so I guess I really should see this.