A director is forced to work with his ex-wife, who left him for the boss of the studio bankrolling his new film. But the night before the first day of shooting, he develops a case of psychosomatic blindness.
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.
Dishwasher and small-fry criminal Ray hits on a plan with his partners in crime to re-open a local pizza place and dig through to the bank down the street. As his wife can't cook pizza but does great cookies, that's what they sell. While the no-hope tunnellers get lost underground, the cookie operation really takes off and the team find themselves rich business people. But the other local money isn't quite ready to accept them.Written by
Jeremy Perkins <firstname.lastname@example.org>
In the beginning of the film, Allen's character Ray wants to rent a storefront next to the bank, only to learn that someone by the name of "Nettie Goldberg" has already leased it- Nettie was Allen's real life mother's name. See more »
Shown the house where writer Henry James(whom her husband confuses with band leader Harry James) once lived, the culturally challenged Frenchy announces that James was author of "The Heiress" (which she mispronounces as "hair-ess"). In reality, "The Heiress" was the title shared by a movie and a stage play, each inspired by James's novel "Washington Square"; James never wrote anything called "The Heiress". See more »
It's Louie the 14th, or Louie the 15th. I don't know how high the Louie's go, actually.
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My own theory about Woody is that he makes films for himself only. Recently I saw `Sweet and Lowdown' and think it one of the most multidimensionally complex, introspective films I've ever seen. I also saw `Crimes and Misdemeanors,' and thought he was working with ideas too big for his skills. Rather like the character Woody plays in this film.
In fact `Sweet' was successful because the actor (Sean Penn) was able to convey a Woody that had some natural skill, who in his heart knew he was secondrate, and who also had publicly criticized eccentricities. Penn could convey that Woody. Woody could never, and that's the root of the problem with this film.
There're two types of New Yorkers. Those with class and those without, regardless of fame and wealth. Woody pokes fun at himself here for his own benefit. But for us viewers, there's not much here, and except for a few skits, there are few laughs.
But chances are that if you are reading this, you're going to or have seen this anyway. If so, isn't May a gas? She's one of those aristocrats of comedy, and there's a double joke here. She plays the dimmest wit, though in real life, she would be the top cookie. And she had a meteoric rise in Hollywood until writing/directing `Ishtar' with two of the then biggest stars. It was the biggest flop in history until `Waterworld,' and even then WW made money.
Having her in this fable of up/down and having her steal every scene is so sweet.
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