The screen time may belong to Woody Allen, but the movie belongs to Zero Mostel. Few actors are more improbable than the artfully bulky Mostel, whose round head, tiny snub nose and large expressive eyes resemble a cartoon more than an actual person. Yet his range is phenomenal. Watch the breadth as he slyly tries to work around head witch-hunter Francis Hennesee, or comically greets the diminutive Allen, or explodes in eye-popping rage at the Borscht-belt proprietor who cheats him. His metaphorical loss in the film mirrors the very real loss film-goers suffered during his years of blacklist. And it's to Allen's credit that he generously showcases this prodigious talent in what would be Mostel's last film.
The movie itself handles the blacklist of the 1950's with a congenial light touch. Allen is perfect as the nebbish who fronts for his screenwriter pals, and it's fun to watch him puff up and fluff out as the spotlight shifts abruptly his way. As expected, there are many amusing Allen bits scattered throughout. Even the romantic angle with Marcovicci works nicely into Allen's character as he evolves through the story-line, ending in a perceptive example of the old "worm turns" plot twist. All in all, this 1976, Martin Ritt film amounts to an amusing look at a dark period in American civil liberties, made unusually memorable by the sublime presence of the unforgettable Zero Mostel.
