Archives For Woody Allen

Much will be said in the coming days about Martin Landau’s talent and career. It will all be deserved. He was a remarkable actor. Whether you consider actor an art or a craft, he was a master. And he was passionate about it until the end. If you haven’t heard his interview on Marc Maron’s WTF podcast earlier this year, find it now. It’s incredible.

When I started pulling at the thread of what my favorite performance of his might be, the thought was torn open and a dozen titles spilled out before I knew it. His Lugosi in ED WOOD will be talked about — and it should be. Amazing. I never tire of it. CRIMES AND MISDEMEANORS — one of the great performances of all time in what is probably in the Top 5 of Woody Allen’s movies. He smolders and menaces in NORTH BY NORTHWEST — leaving little doubt that his character is both loyal to and in love with his boss, Mr. Vandamm.

I love those and a baker’s dozen more that I could rattle off here. But there are a couple of performances a little off the beaten path that I’ll always remember fondly. His work on TV (Mission Impossible, Space 1999) never felt like he was slumming. He became whatever part he played. I loved his turn as twin brothers — both villains — in an episode of Columbo. And I still get a little emotional thinking about what he brought to TUCKER: THE MAN AND HIS DREAM. It was another well deserved nominated performance.


Here’s The Hollywood Reporter’s announcement that Mr. Landau has died.


Jack Lemon, Tony Curtis and Marilyn Monroe in Billy Wilder’s SOME LIKE IT HOT (1959)

SOME LIKE IT HOT (NR, 122 min., B&W, Released May 29, 1959 United Artists)

Woody Allen was once asked to name a film he always has to defend not liking. He answered – “Some Like It Hot”.

Some Like It Hot is (in my opinion) the creakiest of the big films in the Billy Wilder Canon. It simply cannot stand up next to Double Indemnity, Stalag 17, Sunset Boulevard, and The Apartment. Yet there it is, coming in on AFI’s Top 100 at #16. And it is almost universally praised and glowingly reviewed.

There are things I like about Some Like It Hot. The inside jokes, for one — the nod to Jules Stein and MCA’s origins, Curtis’s playful Cary Grant impersonation, George Raft playing George Raft. I still marvel at the bawdy jokes and gags they were able to get into the film in 1959. Ms. Monroe’s wardrobe alone is a physics-defying feat worthy of mention. Her performance is sweet and has some nuance to it, sad and poignant in retrospect. I.A.L. Diamond delivers a taut and competent screenplay, but that’s to be expected. His screenplay for The Apartment is flawless.

Some Like It Hot feels to me like a curious museum piece, interesting in part, entertaining at moments, completely of another time. In fairness to the filmmakers the film was made in 1959 and set in 1929. They were having a bit of fun making an “old fashioned” movie about those pre-Crash, Prohibition-skirting, Roaring Twenties. But all that makes it feel that much more of a relic to me.

Wilder’s fondness for kicker last lines is famously on display here. And it is the perfect capper for Jack Lemon’s over the top performance.


Director: Billy Wilder, Writers: Billy Wilder, I.A.L. Diamond (Screenplay), Robert Thoeren, Michael Logan (Story), Producer: Billy Wilder Cinematographer: Charles Lang Jr. Composer: Adolph Deutsch, Editor: Arthur P. Schmidt

CAST: Marilyn Monroe, Tony Curtis, Jack Lemmon, George Raft, Pat O’Brien, Joe E. Brown


Watched on DVD from MGM Collector’s Series

*Most Mondays I watch a classic or historically significant movie that falls into one of these categories: 1) Have never seen it, or 2) Have never seen it uncut, or 3) Have only seen it once, or 4) Haven’t seen it in a very long time.

Some information from: IMDb Pro, BoxOfficeMojo

Movie Monday* 10.27.14

October 26, 2014 — Leave a comment


MANHATTAN (Rated R, 96mins, MGM, Released: April 25, 1979)

Director: Woody Allen, Writers: Woody Allen and Marshall Brickman, Producers: Charles H. Joffe and Jack Rollins, Cinematographer: Gordon Willis, Casting Director: Juliet Taylor, Editor: Susan E. Morse

CAST: Woody Allen, Diane Keaton, Michael Murphy, Mariel Hemingway, Meryl Streep

“We began formulating our approach to Manhattan when we were making Interiors…we talked about how everyone who used anamorphic was always using it in cowboy movies and war pictures. We thought, ‘Why don’t we make an intimate little black-and-white picture that you would never use [widescreen] for, and shoot it anamorphic ally?’ We felt that approach would create a tension between the width of the screen, which you were used to seeing [in other types of movies] with these panoramic expanses, and the intimate details and the intimate romance of the story. We were able to make New York City part of the movie as an actual character, subliminally.”

Woody Allen commenting on his collaboration with Cinematographer Gordon Willis in the October 2014 issue of American Cinematographer

*Every Monday I watch a classic movie that falls into one of these categories: 1) Haven’t seen it in a very long time, or 2) Have only seen it once, or 3) Have never seen it uncut, or 4) Have never seen it at all.

Film Details provided by: IMDbPRO, BoxOfficeMojo


Tony Curtis and Burt Lancaster in SWEET SMELL OF SUCCESS (writers: Ernest Lehman, director: Alexander Mackendrick)

I recently had the unusual experience of being in New York City for six days and not having to be in a hurry to go anywhere. Over that period I came to appreciate again what a rich, deep role New York has played in the movies. (Not to mention the movie business.) So, I started making some notes and decided to share them here more as notebook entries rather than a formal essay.

I need to say up front that this post will be too much for some readers and not enough for others. I wanted to offer more than just a list of standout New York movies but I’m not offering any kind of academic, objective, exhaustive or authoritative analysis of the subject. This post (presented in at least two parts) doesn’t even touch on rich vein of truly independent features and documentaries set in and about New York City. No attempt is made to put these movies in order of quality or importance. The criteria I used for composing this list are simple: the movie’s story is set in and around New York City; the movie was shot primarily in and around New York City; the City is as much a character in the movie as any of the people; and it’s a movie I like very much in part or in whole.

My hope is that as you read this post you’ll discover or re-discover a title or two you enjoy as much or more than I do.


It’s likely that the four most heartbreaking words in American Cinema are: “It was you, Charley.” Brando delivers a variation of this line twice to Rod Steiger in the iconic — if improbable (witness the Venetian blinds) — cab scene in ON THE WATERFRONT (1954). The cast, the performances, the direction are unrelenting. This movie was a game changer for American movies. Don’t let the unironic use of the words like “Palookaville” throw you. WATERFRONT is still a moving film that expresses both the intimate and epic struggles of being human.

SWEET SMELL OF SUCCESS (1957) was a box office failure in its time. In the years that followed it failed to gain a foothold with the public but came to exert great influence on generations of young filmmakers from Scorsese to Paul Thomas Anderson. How relevant and influential is this movie on today’s top content creators? One example: the titles of the second and third episodes of BREAKING BAD (season one) are direct references to SWEET SMELL OF SUCCESS. The movie celebrates New York in all its neon glitz and concrete grime. Burt Lancaster’s character speaks for untold millions when he says, with a smile on his face: “I love this dirty town.” Sidney Falco is Tony Curtis’s most searing, unflinching performance. If nothing else the screenwriting of Ernest Lehman and Clifford Odets is to be praised for producing these gems: “The cat’s in the bag and the bag’s in the river.” “You’re dead son. Get yourself buried.” “Come back, Sidney! I want to chastise you.”

Apartment 7+

Jack Lemmon in THE APARTMENT (writers: Billy Wilder & I.A.L. Diamon, directed by: Billy Wilder)

THE APARTMENT (1960) – Roger Ebert made the observation that in many movies it doesn’t appear that the characters actually have jobs “but in THE APARTMENT they have to be reminded that they have anything else.” It’s doubtful any studio would greenlight THE APARTMENT these days. They wouldn’t know what it is – comedy or drama? But as the filmmaking team of Billy Wilder and I.A.L Diamond knew and demonstrated so well – life is both comedy and drama. THE APARTMENT is as perfect a screenplay as there is. The characters are transformed from archetypes into flawed human beings by exquisite writing, deft acting and confident directing. The production design and shooting of this film take full advantage not just of the setting of New York City but also of the ethos of  The Organization Man era. THE APARTMENT is on my shortlist for all stranded-on-a-desert-island scenarios.

BREAKFAST AT TIFFANY’S (1961) – The opening sequence – the cab, the empty street, that dress, those gloves, jewelry and sunglasses… Audrey Hepburn, the epitome of taste and sophistication, window-shopping at Tiffany & Co while eating a cinnamon twist and drinking coffee from a paper cup. Come on! Everything in the frame and the angles chosen to frame the action are just perfect. Sam Wasson’s book, Fifth Avenue, 5 A.M. is a good and informative read with lots of behind the scenes notes on Holly Golightly’s New York.

There was a sea change in the kinds of movies that got made in the 1970s. The gritty, desperate, down and dirty filmmaking that prevailed in the ‘70s crossed paths in many cases with the City that teetered on the brink of disaster socially, politically and economically. The titles keep coming like water from a fire hose: MIDNIGHT COWBOY (1969). THE FRENCH CONNECTION (1971), SERPICO (1973), MEAN STREETS (1973), DOG DAY AFTERNOON (1975), THREE DAYS OF THE CONDOR (1975), TAXI DRIVER (1976), MARATHON MAN (1976), ANNIE HALL (1977), SATURDAY NIGHT FEVER (1977) – and that doesn’t even scratch the surface.

I’ll just comment on three:

THE GODFATHER (1972) – Not much I can contribute to the volumes of analysis and praise that already exist for THE GODFATHER and GODFATHER II. I’ll leave it at this for now: Robert Evans’s account of getting the movie made and its volatile New York premiere is one of the highlights of his essential Hollywood memoir: The Kid Stays in the Picture. If you haven’t read it, think about rectifying that.

NETWORK (1976) – New York City is to NETWORK as the ocean is to a fish. It’s the unquestioned environment in which the inhabitants struggle for everything from significance to survival. NETWORK neither romanticizes or demonizes NYC. What goes on there is examined and debated but the arena itself is not. That’s due mainly to writer/producer Paddy Chayefsky but also in no small part to director Sidney Lumet. Both men were creatures of NYC. NETWORK is both a time capsule and a prophetic text. The movie perfectly preserves the fashion and sensibilities of the “haves” who worked and lived there in the mid-70s. NETWORK’s commentary on the ever blurring lines between Big Business, The News and Entertainment were dismissed by some at the time but cannot be denied now. Lumet laughed away suggestions that the film was satire, claiming it was closer to straight reportage. The only thing the film “predicted” that hasn’t happened since the movie came out — as far as we know — is the on-air execution of a TV personality “because he had lousy ratings.” (I haven’t read it yet but Michale Itzkoff’s book on the making of NETWORK is in my queue.)


MANHATTAN (written & directed by Woody Allen)

MANHATTAN (1979) – There are a few writers and directors who – no matter where they’ve made movies – are considered, first and foremost, New York filmmakers. Sydney Lumet, Martin Scorsese, Nora Ephron, Spike Lee… But none have the body of work and commitment to the town that Woody Allen does. One need only to watch and listen to the opening three minutes and forty-five seconds of MANHATTAN to know this film is his ultimate love letter to NYC. In retrospect the 90 minutes that follow the opening take on a strange tone of art predicting life. Those minutes are also filled with some of the most striking photography of New York (in Black and White shot in 2:35:1) ever captured in a motion picture.


Coming in Part Two: 80s & 90s NYC Comedies and one of my favorite movies about the newspaper business.