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.
Jerry Falk and David Dobel, who meet at a business meeting, become fast friends. Their commonality is that they are both fledgling New York based comedy writers, largely writing material for stand-ups, are Jewish (although David is an atheist), and are each of bundle of different neuroses. Their big difference is that Jerry is twenty-one, while David is sixty, with forty more years worth of life experience, knowledge and neuroses. While Jerry writes full time - he also working on a novel - David has kept his day job as a public school teacher just in case. In their relationship, David becomes somewhat of Jerry's mentor, providing advice on Jerry's life issues, most which revolve around the fact that Jerry is a product of inertia, he having trouble leaving anyone. That's why Jerry's still with the one and only manager he's ever had, Harvey Wexler. Jerry not only being Harvey's only client (which is a testament to his effectiveness in the job), Harvey also has a 25% take as stipulated ...Written by
On the wall of the apartment that Jerry and Amanda share there is a collection of photos. One of them is of Vincent Gallo. See more »
Jerry Falk refers to a baked cannoli when in fact cannoli shells are deep fried not baked. Perhaps, Woody Allen was thinking of cannelloni. See more »
You know, there's great wisdom in jokes, Falk, really. There's an old joke about a prizefighter who's in the ring, and he's getting killed, he's getting his brains beat out; and his mother's in the audience, and she's watching him getting beaten up in the ring, and there's a priest next to her, and she says 'Father, father, pray for him, pray for him!' The priest says 'I will pray for him, but if he could punch it would help!' There's more insight in that joke, into what I call the...
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This movie really is an underrated gem. Somehow most critics have become totally unable to accept Woody Allen's work for what it is and compare it only to other movies from the same years.
Woody Allen has said many times that he has no interest in looking back to his old work and, in my opinion, it really shows. From someone who has often raved about the 'Radio Days' of his youth and adores prewar Jazz, he has steadily developed into a director who has no trouble catching the modern every day lives of the people around him. Recreating the atmosphere from his older movies would only show the inability to move on, along with the rest of the world.
Anything Else is proof of that. It's a modern movie with a typical Woody Allen style dialogue that works on several levels. Between the jokes and witty remarks and often great replies, lie the worries of any young guy or girl that has to learn to deal with life's fears and frustrations. Anything Else also has a really nice atmosphere and a great pace - the movie at almost 2 hours never feels like it's stalling or going nowhere. The story moves forward constantly. Biggs really is the star here and is a perfect Young Woody Allen. Ricci is only a supporting character, but both she and the rest of the cast really make this into a believable, relaxed and enjoyable experience.
For those who are willing to learn a little: this movie does make a simple, but very true point about learning to deal with life.
Photography, directing, editing and writing is really first class work - nothing less than what you get in other top Woody Allen movies. Beautiful locations, great camera work and typical Woody style jazz really make this into a perfect 10/10.
The lack of awards and negative reviews are just like Dobel (Woody Allen) says in this movie: You know....it's just like anything else.
Go see it for yourselves!
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