Woody Allen, to our relief, has decided to embrace the movies—a story, dramatic tension, complications—rather than “art,” with the result that he’s more of a moviemaker and perhaps more of an artist than before.
In ‘Stardust Memories’ we get more of the same thoughts over and over—it’s like watching a loop. The material is fractured and the scenes are very short, but there was not a single one that I was sorry to see end. ‘Stardust Memories’ doesn’t seem like a movie, or even like a filmed essay; it’s nothing.
After the somberness of Interiors, Woody Allen has returned to the romantic comedy style of Annie Hall. The result is his most lyrical and emotional film to date. Although it may not be as complex as Annie Hall, Manhattan is a magnificent film, subtle both in expression and in feeling. It proves that Allen’s genius is still growing and capable of fertile surprises.
Woody Allen appears before us as the battered adolescent, scarred forever, a little too nice and much too threatened to allow himself to be aggressive. He has the city-wise effrontery of a shrimp who began by using language to protect himself and then discovered that language has a life of its own.
Crimes and Misdemeanors, written and directed by Woody Allen, is a sad, censuring look at the world-famous doctor and other crooks in high places who (in Allen’s view) have convinced themselves that they can do anything, because they don’t think God is watching.
Pauline Kael reviews ‘New York Stories’, the 1989 anthology film consisting of three shorts with the central theme being New York City. Episodes directed by Martin Scorsese, Francis Ford Coppola and Woody Allen.
The above headline is taken from Dr. David Reuben’s book Everything You Always Wanted To Know About Sex but Were Afraid To Ask, a waggish tome now turned into a cockeyed and sometimes insanely funny film of the same name, written and directed by Woody Allen.
Dopo vent’anni di carriera Woody Allen incontra per la prima volta, a Parigi, i giornalisti dei Cahiers du cinéma, la rivista simbolo del cinema francese
Ecco un’intervista che parla di film, di metodo, di indipendenza e di spettatori
The major portion of this interview, much of it conducted by Michiko Kakutani over dinner at Elaine’s Restaurant, was completed in 1985. Since then, the editors — by correspondence and conversations with Mr. Allen over the phone — have brought it up to date.