Alan on Allen
"I don't like him."
That's probably the phrase I've heard most when I mention the films of Woody Allen to any of my friends.
"Er... um... ah..."
That's the phrase I usually hear when I ask them which of his films they've seen. Now don't get me wrong, I'm not going to have a go at anyone for this because to be honest I used to be exactly the same. That is, until I came up with the revolutionary idea of watching one of his films rather than basing my opinion on a few seconds of footage I saw ten years prior.
Now I'm just talking from the point of view of his films here, but Woody's had it tough in recent years. It seems that those who are unfamiliar with his work assume that all his films are about a balding Jewish neurotic who spends all his time moaning about things, while those who have enjoyed his career start claiming that his recent output "isn't as good as his earlier, funny films" (a complaint he addressed with mixed results in the Fellini-inspired STARDUST MEMORIES).
Well here's where I come to his defence. There's an element of truth (a large element to be honest) in the stereotypical view of Allen's films, but the man has offered so much more. In films like SLEEPER and BANANAS he demonstrated his gift for slapstick comedy; ANNIE HALL and MANHATTAN are simply two of the best films ever (and you can quote me on that); his mockumentary film ZELIG was proof of his utter mastery of the mechanics of film. His films have always been intelligent, often witty and take in all of life's grand themes of love, art, philosophy and, well, the neuroses of balding Jewish men from New York.
In recent years, he managed what I'd class as a return to form with the tragedy/comedy MELINDA AND MELINDA, with Will Ferrell ably stepping into Allen's shoes in front of the camera - one in the eye for all those who still complain that he's "not as good as his earlier, funny films".
And now we have MATCH POINT, which once again demonstrates the flexibility of the man as well as giving all you doubters a chance to go and watch one of his films. It takes a bit of getting used to, seeing a Woody Allen film that has nothing to do with New York (it's his first film in London), and without the presence of an Allen-like character (or indeed any comedy at all) there are times when it seems like an endless parade of posh people being annoying.
But forget all that - in MATCH POINT, Allen proves himself more than adept at emotional drama (and, following a final-act twist, a competent helmer of thrillers too) and serves up a tense film that will have you on the edge of your seat in suspense. The film is worth seeing and fully deserves all the praise heaped on it by critics of late.
It's not quite as good as his earlier, funny films though.
That's probably the phrase I've heard most when I mention the films of Woody Allen to any of my friends.
"Er... um... ah..."
That's the phrase I usually hear when I ask them which of his films they've seen. Now don't get me wrong, I'm not going to have a go at anyone for this because to be honest I used to be exactly the same. That is, until I came up with the revolutionary idea of watching one of his films rather than basing my opinion on a few seconds of footage I saw ten years prior.
Now I'm just talking from the point of view of his films here, but Woody's had it tough in recent years. It seems that those who are unfamiliar with his work assume that all his films are about a balding Jewish neurotic who spends all his time moaning about things, while those who have enjoyed his career start claiming that his recent output "isn't as good as his earlier, funny films" (a complaint he addressed with mixed results in the Fellini-inspired STARDUST MEMORIES).
Well here's where I come to his defence. There's an element of truth (a large element to be honest) in the stereotypical view of Allen's films, but the man has offered so much more. In films like SLEEPER and BANANAS he demonstrated his gift for slapstick comedy; ANNIE HALL and MANHATTAN are simply two of the best films ever (and you can quote me on that); his mockumentary film ZELIG was proof of his utter mastery of the mechanics of film. His films have always been intelligent, often witty and take in all of life's grand themes of love, art, philosophy and, well, the neuroses of balding Jewish men from New York.
In recent years, he managed what I'd class as a return to form with the tragedy/comedy MELINDA AND MELINDA, with Will Ferrell ably stepping into Allen's shoes in front of the camera - one in the eye for all those who still complain that he's "not as good as his earlier, funny films".
And now we have MATCH POINT, which once again demonstrates the flexibility of the man as well as giving all you doubters a chance to go and watch one of his films. It takes a bit of getting used to, seeing a Woody Allen film that has nothing to do with New York (it's his first film in London), and without the presence of an Allen-like character (or indeed any comedy at all) there are times when it seems like an endless parade of posh people being annoying.
But forget all that - in MATCH POINT, Allen proves himself more than adept at emotional drama (and, following a final-act twist, a competent helmer of thrillers too) and serves up a tense film that will have you on the edge of your seat in suspense. The film is worth seeing and fully deserves all the praise heaped on it by critics of late.
It's not quite as good as his earlier, funny films though.
posted by Alan at 10:19 pm
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