Charlie talks wealthy farmer's daughter Tillie into eloping with him (and taking her father's money). In the city Tillie gets drunk and lands in jail while Charlie runs off with her money ... See full summary »
Robert and Beth Gordon are married but share little. He runs into Sally at a cabaret and the Gordons are soon divorced. Just as he gets bored with Sally's superficiality, Beth strives to ... See full summary »
Cecil B. DeMille
Seven segments related to one another only in that they all purport to be based on sections of the book by David Reuben. The segments range from "Do Aphrodisiacs Work?" in which a court ... See full summary »
On his deathbed Carmine Vespucci's father tells him to "get Proclo". With "the hit" on, Gaetano tells a cab driver to take him where Carmine can't find him. He arrives at the Ritz, a gay ... See full summary »
Danny Rose is a manager of artists, and although he's not very successful, he nevertheless goes out of his way to help his acts. So when Lou Canova, a singer who has a chance of making a come-back, asks Danny to help him with a problem, Danny helps him. This problem is Lou's mistress Tina. Lou wants Tina to be at his concerts, otherwise he can't perform, but he's married, so Danny has to take her along as if she was his girlfriend. Danny however gets more than he has bargained for when two mobsters come looking for the guy who has hurt their brother by stealing the heart of Tina, the girl he loves. Written by
Leon Wolters <wolters@strw.LeidenUniv.nl>
The deli owner who informs Danny Rose about the fate of one the characters in the movie was really the co-owner of the legendary Carnegie Deli where the scene was shot. He was a retired comic and actor who retained his SAG card named Leo Steiner. He was only cast after the actors Woody Allen brought to the location were inadequate. See more »
In one scene, Danny can be seen walking past a movie theater, that lists _Haloween III (1982)_ on the marquee, when the film is supposed to take place in the 1970s. See more »
I don't wanna badmouth the kid, but he's a horrible, dishonest, immoral louse. And I say that with all due respect.
See more »
The guys in the Carnegie Deli continue to banter over part of the end credits. See more »
If there's one thing that almost all of Woody Allen's comedies have in common, it's charm. Few have more of it than Broadway Danny Rose. Not Allen's best, not his funniest, but this warm and sentimental film grabs the viewer immediately and never lets up.
This is accomplished, initially, by the extremely naturalistic dialogue between the comics whose reminiscences form the bulk of the film. Notice how they all talk at once, they cut each other off, and they trample all over each other's lines. We really feel like we're listening in on a diner conversation, rather than watching a theatrical performance of a diner conversation. This gives the film an initial boost of accessibility.
This "charm factor" is cemented once we meet Danny Rose. Now, many people criticize Allen as an actor, claiming that he only ever plays one character... himself. This is absolute rubbish, and "Broadway Danny Rose" proves it. I have never seen Allen play a character so kind, warm, and accepting as Danny Rose. It was quite a pleasant surprise. Danny has to be that good, though, in order for us to accept that Tina is haunted by her betrayal of him.
That denouement, by the way, was really touching. The Thanksgiving scene took a good, funny, enjoyable movie and made it something a little more special. Compare this to the gross-out comedies of today... how many modern comedies can be as funny as "Broadway Danny Rose," and yet still create characters so real and so sympathetic that moments like the Thanksgiving scene can work?
I try not to harp on about how funny Allen's comedies are, because you either like his humor or you don't. If you like it, you don't need me to tell you it's funny, and if you don't, you won't believe me anyway. So why bother? I don't know, but I will say that this film had a good six or eight laugh out loud moments, at least, and it kept me smiling throughout.
Also, after a good debut in "A Midsummer Night's Sex Comedy" and a reduced, subdued role in "Zelig", this is the film where Mia Farrow really comes into her own as Allen's leading lady. For the first time, I don't miss Diana Keaton.
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