Sandy Bates, a successful filmmaker, attends a festival conducted to honor his work. During the course of the weekend he reconsiders his cinematic accomplishments as well as his past relationships. Written by
Scott R. Vaughn <email@example.com>
When Woody Allen edited his films, he would play old music records in the cutting room to help him establish the rhythm of a scene being edited. This was the first movie in which Allen used the old music on his movie's soundtrack. See more »
Oh, what is this? The-the traditional brownies with hash? Is this what you're giving me?
No, no. Look, here's the hash on the side because I didn't know how much you took.
How much I took? What is it, hollandaise sauce? What do you mean, how much I took?
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The problem with Woody has always been that everyone takes his movies more seriously than he does. Here, using the tactics of Felini, he makes fools of his detractors including the greatest detractor of all, Woody himself. For many reasons, I rank this among his best. He removes the restraint of plot, and just goes balls out nuts with his usual philosophical angst, and endless worship of beautiful dames. Oddly enough, without the fetters of convention, to me it was actually less pretentious or indulgent I think people like to call it, and a lot easier to understand and empathize with. One thing that I've always found absurd, and ironically what this film dwells on, is the complaints by fans and critics that he should go back to making comedies. Woody cannot not make a funny movie. If he's in it, and he's talking, I'm laughing. Especially back in this era, when his jokes were so fresh. So make no mistake, this film is loaded with comedy. Finally, I liked his choice of women in this. Charlotte Rampling is what I suppose the word breathtaking was originally meant to describe. If you arent touched by the final scenes with her, you got issues.
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