The 37^th Or Something Like That Reincarnation Of Woody Allen’s Epic Los Angeles-New York City Battle-And A Little Romance Thrown In-Woody’s “Café Society” (2016)-A Short Film Review

DVD Review

By Ronan Saint James

Café Society, starring Jesse Eisenberg, Kristin Stewart, written and directed by Woody Allen, 2016

[In a recent introduction to this new series, a series based on short film reviews for films that deserve short reviews if not just a thumb’s up or down I noted that Allan Jackson, the deposed previous site manager, required his film reviewers to write endlessly about the film giving the material an almost cinema studies academic journal take on it. That caused a serious decline in the number of reviews over the years which I hope to make up with a flurry of snap reviews for busy people. To see in full why check the archives for November 28, 2018- Not Ready For Prime Time But Ready For Some Freaking Kind Of Review Film Reviews To Keep The Writers Busy And Not Plotting Cabals Against The Site Manager-Introduction To The New Series- Greg Green]

I will say this about Woody Allen, a guy can’t be too bad, can’t be too repetitious if he indulges his passions for old time bluesy, jazzy torch singers who are also into jazzing, 1920s and 1930s time frames, and be-bop Benny Goodman as an example big-time swing bands. Even if the story line of this latest production Café Society is a 37^th reincarnation of stories he did much better when he was young and hungry when he wanted to make definite statements that New York City not La-La Land was the epicenter of American cultural expression in whatever condition it found itself. That said this retread still had its points. 

Naturally poor Woody, oops, Bobby, was tired of New York for a minute decided to see the world and headed to Hollywood where a successful talent agent uncle might help him get a leg up in the movie business-maybe follow in “Unk’s” footsteps. Before he could get that leg up though he found his soulmate or who he thought would play that role-as naturally some gentile woman from the Midwest, here Nebraska but you name the vanilla state and can plug it in. So Woody certainly could never have been accused of not rushing headlong into the eternal film saver-boy meets girl trope that has kept many a film from the delete button of late.

That said here is the play once Bobby gets out from under the New York scene (I would not be telling any tales out of school to note that he would scurry back before too long with his tail between his legs-okay) and into the wilds of Hollywood he finds that true love, his uncle’s assistant, receptionist I don’t know what he put down on his tax returns but something to cover the fact that Von, dear Von, is his uncle’s mistress if anybody can use that term anymore with a strange glance. Uncle is ready to ditch wife and all except for a time he dithers and that will give our Bobby his opening. Except (always the Woody “excepts”) when push came to shove and it was mano a mano on who Von was going to marry she went with the uncle. Fast forward: a bunch of years later both Bobby and Von met at some social event in New York and while they did not get it on or anything like that they were both very wistful after departing. Like what might have been. After three divorces and a bunch of affairs that sentiment hit me square in the eye. Again. We are doing short film reviews these days under strict orders from the “boss,” his designation of himself so that is it.

From The Pen Of Joshua Lawrence Breslin- When Woody Allen Ruled The Social Satire (And Adult Angst) Night

 

 

Short Film Clips

From an American Left History blog review of Woody Allen’s Annie Hall-

 … Hey, haven’t I already reviewed this movie. No, sorry that was Manhattan another in the line of very witty Woody Allen movies. But the point is this it is the same subject that Woody addressed there even though chronologically Annie Hall came first by a couple of years and received the lion’s share of kudos and awards. As virtually always Allen is intent upon commenting on New York life and its intellectual trends and the ups and downs of relationships, mainly with women. Here he adds a flourish by contrasting old New York (in the 1970’s) to up and coming California as the cultural mecca of the American empire. And, as should be the case, New York wins.

Add to that the perennial issue of Woody’s struggle with ‘interpersonal’ relationships and his angst-driven desire to understand the modern world and you have a very fine social commentary of the times. Needless to say Woody’s love interest Annie Hall (as played by his then paramour Diane Keaton) keeps him hopping. As does an ensemble cast that works well together as foils for his ironic and savage humor. The only surprise in revisiting this film recently is how well Keaton plays her role as an up and coming torch singer. Of course, I have always been a sucker for torch singers but that is another matter. Some of the humor may seem dated and very 1970’s New Yorkish. Some of Woody’s mannerism and use of sight gags may seem like old news. But this is a film to watch or re-watch if you have seen it before.

And hence…

Bullets Over Broadway

Apparently, as long as it involves a New York City scenario Woody Allen is more than happy to take a run at a plot that involves that locale in some way. Here it is the Great White Way- Broadway during its heyday in the Prohibition Era 1920’s that gets his attention (as it has before in the classic Broadway Danny Rose). What really makes this plot line very, very funny and makes the film work however is the twist of interspersing production of a play with nefarious gangster activity.

Here a struggling (weren’t we all and still are) Greenwich Village writer has a play in search of a backer and in the process a gangster ‘ghostwriter’. Up comes one backer-with a problem- his ‘doll’ wants in on the play and he needs to stay one or two steps ahead of his rivals. These antics drive the play nicely as does a brilliant performance  by Diane Wierst doing a fantastic send up of Gloria Swanson as the has been actress searching for a comeback in Billy Wilder’s classic Hollywood Boulevard. This one is definitely the five star without the hype.

 

 

 

Short Film Clips

From an American Left History blog review of Woody Allen’s Annie Hall-

… Hey, haven’t I already reviewed this movie. No, sorry that was Manhattan another in the line of very witty Woody Allen movies. But the point is this it is the same subject that Woody addressed there even though chronologically Annie Hall came first by a couple of years and received the lion’s share of kudos and awards. As virtually always Allen is intent upon commenting on New York life and its intellectual trends and the ups and downs of relationships, mainly with women. Here he adds a flourish by contrasting old New York (in the 1970’s) to up and coming California as the cultural mecca of the American empire. And, as should be the case, New York wins.

Add to that the perennial issue of Woody’s struggle with ‘interpersonal’ relationships and his angst-driven desire to understand the modern world and you have a very fine social commentary of the times. Needless to say Woody’s love interest Annie Hall (as played by his then paramour Diane Keaton) keeps him hopping. As does an ensemble cast that works well together as foils for his ironic and savage humor. The only surprise in revisiting this film recently is how well Keaton plays her role as an up and coming torch singer. Of course, I have always been a sucker for torch singers but that is another matter. Some of the humor may seem dated and very 1970’s New Yorkish. Some of Woody’s mannerism and use of sight gags may seem like old news. But this is a film to watch or re-watch if you have seen it before.

And hence…

Small Time Crooks

Everyone I hope recognizes that, if one lives long enough, that one is bound to start recycling ideas. That is the case here with Woody Allen’s partial revival of his early film classic Take the Money and Run, with a class twist. Here Roy (Allen’s character) is just as dimwitted as old Virgil of Take the Money but as an older and wiser man he knows when to quit (for a while anyway). So when Roy and his associates’ attempted bank robbery is foiled by his bugling his wife’s successful cookie shop cover operation sees them through the rough spots, again for a while. After a trip through the wilds of bourgeois New York the couple, after some disasters personal and financial, goes back to the old tricks of the trade. I am not altogether sure what this says about class mobility in a democratic society but Roy please do not call me for your next caper. Funny, in Allen’s way, in spots but not his best in this genre.    

From The Pen Of Joshua Lawrence Breslin- When Woody Allen Ruled The Social Satire (And Adult Angst) Night

Short Film Clips

From an American Left History blog review of Woody Allen’s Annie Hall-

 … Hey, haven’t I already reviewed this movie. No, sorry that was Manhattan another in the line of very witty Woody Allen movies. But the point is this it is the same subject that Woody addressed there even though chronologically Annie Hall came first by a couple of years and received the lion’s share of kudos and awards. As virtually always Allen is intent upon commenting on New York life and its intellectual trends and the ups and downs of relationships, mainly with women. Here he adds a flourish by contrasting old New York (in the 1970’s) to up and coming California as the cultural mecca of the American empire. And, as should be the case, New York wins.

Add to that the perennial issue of Woody’s struggle with ‘interpersonal’ relationships and his angst-driven desire to understand the modern world and you have a very fine social commentary of the times. Needless to say Woody’s love interest Annie Hall (as played by his then paramour Diane Keaton) keeps him hopping. As does an ensemble cast that works well together as foils for his ironic and savage humor. The only surprise in revisiting this film recently is how well Keaton plays her role as an up and coming torch singer. Of course, I have always been a sucker for torch singers but that is another matter. Some of the humor may seem dated and very 1970’s New Yorkish. Some of Woody’s mannerism and use of sight gags may seem like old news. But this is a film to watch or re-watch if you have seen it before.

And hence…

Alice

I having been retrospectively over the past year running through films Woody Allen directed, wrote, acted in or produced. Interestingly they run the gamut of his intellectual and cultural interests but I must admit that I did not realize how many of his films featured his old paramour Mia Farrow. She must be the number one actress featured in his various efforts. That is the case here with Allen’s whimsical modern day take on the Alice in Wonderland saga in good old New York City (naturally).

Here Farrow is the unfulfilled wife of a stockbroker who along the way has lost her moorings and her values and is desperately seeking a solution. In that effort she runs to the wisdom of the East exemplified by Doctor Yang, the acupuncturist. Going through a series of madcap false starts and pseudo-affairs she finally is able to right her course, leave her husband and bring up her children out of harm’s way. Damn, I want the telephone (or more correctly these days, the cell phone number) of the good Doctor Yang, pronto. A piece of fluff.  Woody has had better ideas for a film in his time but not a bad performance by Farrow. 

rom The Pen Of Joshua Lawrence Breslin- When Woody Allen Ruled The Social Satire (And Adult Angst) Night

Short Film Clips

From an American Left History blog review of Woody Allen’s Annie Hall-

… Hey, haven’t I already reviewed this movie. No, sorry that was Manhattan another in the line of very witty Woody Allen movies. But the point is this it is the same subject that Woody addressed there even though chronologically Annie Hall came first by a couple of years and received the lion’s share of kudos and awards. As virtually always Allen is intent upon commenting on New York life and its intellectual trends and the ups and downs of relationships, mainly with women. Here he adds a flourish by contrasting old New York (in the 1970’s) to up and coming California as the cultural mecca of the American empire. And, as should be the case, New York wins.

Add to that the perennial issue of Woody’s struggle with ‘interpersonal’ relationships and his angst-driven desire to understand the modern world and you have a very fine social commentary of the times. Needless to say Woody’s love interest Annie Hall (as played by his then paramour Diane Keaton) keeps him hopping. As does an ensemble cast that works well together as foils for his ironic and savage humor. The only surprise in revisiting this film recently is how well Keaton plays her role as an up and coming torch singer. Of course, I have always been a sucker for torch singers but that is another matter. Some of the humor may seem dated and very 1970’s New Yorkish. Some of Woody’s mannerism and use of sight gags may seem like old news. But this is a film to watch or re-watch if you have seen it before.

And hence…

LA –NYC Culture Wars, Part II

Hollywood Ending, Woody Allen

As I noted in a review last year of Woody Allen’s classic Annie Hall, that is among other things a defense of New York City as the cultural epicenter American culture such as it is, this is matter that has preoccupied him from early in his career as a director/ writer/actor/comic. Allen is the quintessential New Yorker so one knows where his sledge hammer will fall. In the current movie under review Hollywood Ending that same premise underlies his story line as he, once again, portrays on screen the trials and tribulations of trying to maintain some kind of artistic integrity in the world of Hollywood commercial filmmaking.

The plot here centers on Allen’s character Val Waxman, an aging has-been director given another chance by, of all people, his ex-wife getting paralyzed by the prospects of failure, hubris etc. to such an extent that he has become temporarily blind. Nevertheless in the interest of comedy and his career (and their careers, as well) Val and his friends con their way through the filming of the remake of a 1940’s film about New York City that is to be the key to his comeback. Along the way Allen gets to get his licks in on Hollywood culture, commercial filmmaking and the funny premise that commercial films are so dumb, for the most part, that a blind man is entirely capable of making a bad film, just like most other directors. Interesting film and, as always, full of autobiographical references, Allen’s trademark cerebral humor and his extensive use of sight gags. Well worth a look see.

When Willie Sutton’s Theory Of Capitalism Ruled The Roost- Woody Allen’s “Take The Money And Run”- A Film Review

Click on the headline to link to a Wikipedia entry for Woody Allen’s Take The Money And Run.

DVD Review

Take The Money And Run, Woody Allen, 1969

This is an early film of comedian /actor/director Woody Allen starring himself in the lead as Virgil Starkwell, a bungling wannabe bank robber whose hijinks land him in prisons, in bed with a lovely girl and the halls of academia as an expert on crime. In this film we can see the outlines of Woody’s seemingly endless love affair with early black and white crime and film noir classics. There is a little more use of sight gags here than in his later films but through it all Woody is still the funny bumbling New York Jewish kid that a long series of films will explore in greater detail. The use of an old time newsreel announcer to describe and set the framework of the film and detail the action is an interesting twist. Not the best Woody Allen film but a good look at the niche that he created for himself in American urban comedy/ social commentary cinema.

Out In Woody Allen’s Be-Bop New York City- “Manhattan”-A Film Review

Click on the headline to link to a Wikipedia entry for Woody Allen’s Manhattan.

DVD Review

Manhattan, Woody Allen, Mariel Hemingway, 1979

In his own off-hand, low-key way Woody Allen, the quintessential New Yorker, has created a nice spoof/send up/valentine to his beloved city. If one were to name the person who represented the essence of middle/high brow New York in the 1970’s and 80’s the name Woody Allen would top most lists. The theme, as usual in an Allen film, is about the endlessly tangled interpersonal relationships among and between the upwardly mobile, or at least wannabe upward mobile, intellectual set in 1970’s New York. An added twist, given later developments in Allen’s personal life, is his tangled romance with a teenaged Waspish type (played by Hemingway), a type that he is seemingly fatally attracted to. Some of the wit may seem dated as it relates to 1970’s New York; some of Allen’s physical mannerisms seem very familiar and for those who have seen his later work the theme has been done better but here is Allen in his city. This is one of the reasons why New York, and no other, is the cultural capital of America. Beat him if you can.

When Woody Allen Went South- South Manhattan- “Manhattan Murder Mystery”

Click on the headline to link to a Wikipedia entry for Woody Allen’s Manhattan Murder Mystery.

Manhattan Murder Mystery, Woody Allen, Diane Keaton, 1993


Woody Allen has spent his career paying homage to various genres that have influenced him since childhood. Or he just plain liked. Here he tips his hat to the amateur sleuth murder mystery. The plot centers on the mysteriously doings of his apartment building neighbors. Spurred on by his wife (played by Diane Keaton) and pal (played by Alan Alda) he gets caught up the mystery more to save his marriage than anything else. This movie reminds me mostly of Alfred Hitchcock’s famous Rear Window from the 1950’s in its plot line but with a 1990’s sensibility. But as always not to worry there is plenty of social commentary/ humor of the well –know Allen type. Do you absolutely need to see this movie? No, you absolutely need to see Annie Hall or Manhattan films that he made in his prime. But this one is okay if you need a little funny sardonic entertainment.

Casablanca Redux, Not – Woody Allen’s “Play It Again Sam”

Click on the headline to link to a Wikipedia entry for Woody Allen’s Play It Again, Sam

Play It Again, Sam, Woody Allen, 1972

Here is another early Woody Allen social commentary heavily dependent on his long time love affair with film noir and its characters, in this case the legendary romantic figure Humphrey Bogart. Now this may be a film that seems dated compared to today’s new sensibilities around the “woman’ question.” It is not clear that it would be politically correct to ask advice of the legendary Bogart on the woman question today. Bogie, except in the case of Lauren Bacall, was rough on his lady friends (or for the politically incorrect “dames”). But not to worry Woody is the same old bungling ball of nerves and anxieties as he is in most of his films. The real surprise here is that such a cerebral actor/ comedian/ director uses so many sight gags in his repertoire. Does the woman question get resolved here for poor Woody? Well watch the film and find out. You will be glad you did.

When Woody Allen Ruled The Social Satire (And Adult Angst) Night- “Annie Hall”

Click on the headline to link to a Wikipedia entry for Woody Allen’s film classic Annie Hall

Annie Hall, starring Diane Keaton, Woody Allen, 1977

Hey, haven’t I already reviewed this movie. No, sorry that was Manhattan another in the line of very witty Woody Allen movies. But the point is this it is the same subject that Woody addressed there even though chronologically Annie Hall came first by a couple of years and received the lion’s share of kudos and awards. As virtually always Allen is intent upon commenting on New York life and its intellectual trends and the ups and downs of relationships, mainly with women. Here he adds a flourish by contrasting old New York (in the 1970’s) to up and coming California as the cultural mecca of the American empire. And, as should be the case, New York wins. Add to that the perennial issue of Woody’s struggle with ‘interpersonal’ relationships and his angst-driven desire to understand the modern world and you have a very fine social commentary of the times. Needless to say Woody’s love interest Annie Hall (as played by his then paramour Diane Keaton) keeps him hopping. As does an ensemble cast that works well together as foils for his ironic and savage humor. The only surprise in revisiting this film recently is how well Keaton plays her role as an up and coming torch singer. Of course, I have always been a sucker for torch singers but that is another matter. Some of the humor may seem dated and very 1970’s New Yorkish. Some of Woody’s mannerism and use of sight gags may seem like old news. But this is a film to watch or re-watch if you have seen it before.

Out Of The Be-Bop Retro-Jazz Age 2000s Night- Woody Allen’s “Midnight In Paris”

Click on the headline to link to a Wikipedia entry for Woody Allen’s Midnight In Paris

DVD Review

Midnight In Paris, starring Owen Wilson, Rachael McAdams, written and directed by Woody Allen, Sony Picture Classics, 2011


Ernest Hemingway, Gertrude Stein, Scott and Zelda (no last name needed for Jazz Age aficionados, right?), Cole Porter, T.S. Eliot, Man Ray, Pablo Picasso, hell even Djuana Barnes are names from the Jazz Age and the American post- World War I expatriate night that get bandied about in Woody Allen’s 2011 comedic effort, Midnight In Paris. There were plenty of other names dropped as well but the above popped out in memory’s eye and serve my point. This film is a paean to that by-gone age just far enough back for Woody (and me) to not have been splashed by the Jazz Age karma but wishing, wishing like crazy, we could have lived at that time –in that city, Paris and been washed by the spectacular antics and struggles that went on there to create a modern literary and cultural world. And in the end that is Woody’s point, as he has one of his throw-back jazz Age characters pine for an even earlier time- the last quarter of the 19th century-La Belle Epogue. Nice spin, Woody.

But to the plot that brings this whole thing together in magic realistic way and without being too ham-handed on the “moral”. Woody (oops) Gil (played with some Woody-like physical and expressive mannerism by Owen Wilson) is a thoroughly modern frustrated Hollywood screenwriter who yearns to write the great American novel, or at least something other than the drivel that passes for language in most of his screenwriting. He and his fiancée, Inez (played by Rachael McAdams), are in Paris on a lark before getting married. Gil loves Paris, his version of Paris, the Paris of the American ex –pat 1920s Jazz Age when the great creative spirits of the early 20th century held forth and lit up the cultural post-war wasteland night. Inez is a little, no, a lot more bourgeois, and just wants Gil to keep making the kale so they can afford that high-end La-La land lifestyle. This will not be a match made in heaven, no question.

Gil though through cinematic magical realism finds his way back to the Paris of the 1920s around midnight each night and from there is able to find his true self, or what he thinks is his true self. Naturally a women (Pablo Picasso’s, mistress, or one of them) is there to goad him along but also to pose the question about what craving for earlier unattainable times mean. In the end Gil is “liberated” from Inez (she was two-timing him anyway with some pedantic prof) and can walk the rainy 2010s streets of Paris and really make his literary breakthrough. This is one of Woody’s better recent efforts. Proof. A person whom I respect very much as a cinematic aficionado said this is the first Woody Allen film that she could sit through to the end and wish that it didn’t end. High praise indeed.