Suffering from writer's block and eagerly awaiting his writing award, Harry Block remembers events from his past and scenes from his best-selling books as characters, real and fictional, come back to haunt him.
Set in 1920's New York City, this movie tells the story of idealistic young playwright David Shayne. Producer Julian Marx finally finds funding for the project from gangster Nick Valenti. The catch is that Nick's girl friend Olive Neal gets the part of a psychiatrist, and Olive is a bimbo who could never pass for a psychiatrist as well as being a dreadful actress. Agreeing to this first compromise is the first step to Broadway's complete seduction of David, who neglects longtime girl friend Ellen. Meanwhile David puts up with Warner Purcell, the leading man who is a compulsive eater, Helen Sinclair, the grand dame who wants her part jazzed up, and Cheech, Olive's interfering hitman / bodyguard. Eventually, the playwright must decide whether art or life is more important. Written by
When Rocco, Nick Valenti, and Cheech pay their respects, the scene starts with an establishing shot of headstones. A large headstone prominently shows the name "Sorice." Jim Sorice, the Master Scenic Artist, has been the scenic artist in many Woody Allen movies. Cosmo Sorice is the Stand-by Scenic Artist. See more »
When Cheech and David walk through a neighborhood, the corner has an obvious, modern handicap curb-cut. See more »
[Cheech is helping Olive rehearse a scene]
Can't you see? You're living out the exact same pattern your mother lived out with your father.
I am? Pray tell.
In some way you're trying to relive it and in the process of reliving it, correct it. As if that were possible. HA.
It don't say "ha."
I know it don't say "ha," I added that.
Are you allowed to do that? I don't think you're allowed to do that.
We're allowed to add things. It's called ad-libbing.
Well, I think the whole thing stinks.
Well, I ...
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Woody Allen is a genius indeed. Once more in this movie he presents us with a mixture of intelligence and humour conveyed by his famous witty dialogues where the characters seem to play with serious things but are indeed giving us through humour an image of what people think and feel about life nowadays and about the relationships that spring among them. This story mix up with considerable success two ingredients that "a priori" seem not to combine very well: the world of theatre with the world of mafia and gangsterism in the crazy twenties of last century. All the characters are very typical and greatly performed: the young playwright looking for a place in the sun, the ham actress who overacts a lot even in real life, the mafia boss who imposes his girlfriend on the playwright as an actress, the Greenwich Village intellectuals and so on. In my opinion however the feeblest character is the one of the gangster who becomes also playwright from a certain moment on. Some of his interventions lack authenticity. But this is only a minor flaw in the whole. Like all the other Woody Allen's movies this one seems superficial at first sight but it's well made and deep enough to amuse us and simultaneously make us think and feel life in it.
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