Centred around a weekend party at the home of inventor Andrew Hobbs and his wife Adrian, attended by randy doctor Maxwell Jordan, his nurse Dulcy, renowned philosopher Dr.Leopold Sturgis and his fiancée, this is a light comedy concerning their various emotional, intellectual and sexual entanglements, loosely based on Ingmar Bergman's 'Smiles of a Summer Night' .Written by
Michael Brooke <firstname.lastname@example.org>
One of the few movies (including, a little bit later, Broadway Danny Rose, and starting with his more autobiographical-leaning comedies starting with Annie Hall) where Woody plays a more optimistic character. See more »
About thirteen minutes into the movie, a crew member is visible crouched by a tree, as a deer runs through the woods. See more »
Ghosts or little spirits or pixies, I don't believe in them. Do you Mr. Foxx?
You sounded, with all your metaphysical gibberish.
Well, I didn't mean ghosts or spirits, professor.
Nothing is real, but experience. That which can be touched, tasted felt, or in some scientific fashion proved. We must never substitute qualitative events that are marked by similar properties and reoccurrences for fixed substances.
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When I saw this film I thought it was from Allen's early period and I thought of it as a prototype Manhattan but when I checked the chronology I discovered that it belongs to his middle period and postdates both Annie Hall and Manhattan. It really is like Manhattan set in the woods of New England. As far as I can see, it is his first film with Mia Farrow and his camera is besotted with her as are all the male characters in the film. Mary Steeburgen also looks good although I can never work out whether she really can act or whether she is just having trouble with her contact lenses. The scenes of New England are beautifully shot and are ravishing to look at. I thought the element of mysticism sat uneasily with the rest of the film.
This film is said to be Allen's take on the Bergman film Three Smiles of a Summer Night although I cannot comment on this because I last saw the Bergman film 35 years ago at a student film society. Maybe the mystical element in Allen's film is lifted from Bergman. There are also obvious parallels with A Midsummer Night's Dream with the mortals swapping partners and with spirits flitting about in the woods. In keeping with the subject matter, Allen uses Mendelssohn for the incidental music rather that his usual classic jazz numbers.
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