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ALLEN, WOODY.   Term Paper ID:18289 Click to get this paper

Essay Subject: Comparison of Allen's characters in [Annie Hall] & [Bananas]. Neuroses, relationships, sex; increasing sophistication & complexity of films.... More...

13 Pages / 2925 Words 6 sources, 34 Citations, MLA Format $52.00 Return to List of Papers

Paper Abstract: Comparison of Allen's characters in [Annie Hall] & [Bananas]. Neuroses, relationships, sex; increasing sophistication & complexity of films. Paper Introduction: Woody Allen has been called the greatest comedic filmmaker of the 1970s and 1980s. The most original and brilliant screen conic since Charlie Chaplin, Allen has achieved success and notoriety in a relatively short period of time (Sinyard 8). Film critics and film buffs have tracked his growth as a writer, actor, and director and have seen him become more proficient and clever with the medium while constantly changing and surprising them with a variety of stories. The purpose of this research will be to compare two of his 1970 films, Bananas, 1971, and the Academy Award-winner Annie Hall, 1977. The comparison will center on the main characters, their neuroses, relationships and sexual attitudes and actions. In undertaking this analysis, however, a look at Woody Allen himself, his background and point of view, are necessary for understanding his films. In addition, Text of the Paper: The entire text of the paper is shown below. However, the text is somewhat scrambled. We want to give you as much information as we possibly can about our papers and essays, but we cannot give them away for free. In the text below you will find that while disordered, many of the phrases are essentially intact. From this text you will be able to get a solid sense of the writing style, the concepts addressed, and the sources used in the research paper. "The reluctance toaccept membership of the hum race, yet the longing for assimilation is afundamental dichotomy of the Woody Allen persona" (Sinyard 48). Described as an equally bizarre mating of Chaplin and the MarxBrothers, Bananas satirizes dictatorships in the manner of Chaplin's TheGreat Dictator (194 ) while observing political revolution with lunaticsurrealism as seen in the Marx Brothers' Duck Soup (1933) (Sinyard 2 ).And, while critics thought it was funny, it was also obvious that thepacing was inconsistent, alternating between hilarity and dead patches.However, visually it was a dramatic improvement over his earlier work. Unburdening himself of other secrets, this scene focuses on thetwo central anxieties of Allen's future work: sex and death (Sinyard 24). In fact, Allen has tailoredhis role to fit what can do really well, behave entirely credible. And, it was through the constant urging of hisagents, Charles Joffe and Jack Rollins, that he decided he should performhis own material in nightclubs. Works CitedGeist, William E. As a stand-up comic, his materialnever changed. Many believe, however, that even if the Academy Awards were held onanother night, Allen still wouldn't come. Trusting the direction to Herbert Ross, this piece was Allen's firstplot-oriented story as well as showcasing his now co-star Diane Keaton.This film was followed that same year by Everything You Always Wanted toKnow About Sex But Were Afraid to Ask in which he directed as well as wroteand acted. Love and Deathfollowed in 1975. Further, the almost essay-like form of the film allows Allen to covera wide range of his life including his childhood, his two marriages and hisrelationship with Annie. So, in conclusion, Bananas is at times a hilarious response to theturbulence of the 196 s while opening the door on what is to become Allen'sforte in the future: man's anxieties. He stillwants her, though, and actually flies (something he hates to do) out toCalifornia to reclaim her, to bring her back to New York. Bananas makes a point of playing on the politics of the times: theBay of Pigs fiasco, CIA activities, shady alliances and judicial farce aswell as the disguise he wears upon returning to America as a rebel leaderbeing a cross between Fidel Castro and Groucho Marx. Annie Hill is about Alvy Singer, a Brooklyn Jew who is a successfultelevision-nightclub comic. Though it is comparable to Stanley Kubrick's Dr.Strangelove (1963), Allen is also making a comment on America's 196 s--political assassination as sport for live, prime-time television (23). All the while,however, Allen distances himself from any specific political commitment ororientation (Sinyard 23). Further, there are scenes where Allen exploits a convention or ideato its illogical absurdity, such as when Fielding orders a take-out mealfor a thousand rebels at a small little cafe; or his lyrical reverie whenhe is invited to dinner with the President, cut short when he discoversthat the mood-setting harpist is not simply on the soundtrack but in hishotel cupboard (Sinyard 23). Quitting college after the first year when he flunked out, Allen soonfound himself in the company of comedy greats Mel Brooks, Carl Reiner andNeil Simon. The scene where he meets her family strikesat the heart of his paranoia. "Those critics who are suspicious ofAllen's later development relish the free-wheeling absurdity of his outputin this period' (Sinyard 16). "Annie Hall" gives one hope for the possibility of successfullove. Constructed like a series of dream sequences, Allen loseshis politically-active girlfriend, outrages his surgeon father and ends uptrying to find some meaning to his life by traveling to San Marcos.However, he wanders into a plan by the country's dictator to assassinatehim and win American aid by blaming it on the rebels. She is a woman he iswilling to risk all for, including getting arrested at politicaldemonstrations. In spite of his mistakes, his followers were secretlyrooting for him, wanting him to win because, if he can, we can. New York: Abbeville Press, 1989.Sancton, Thomas A. A product tester for an American company,Fielding is a nebbish character, but not such an all-out loser as in hisprevious films. To got to this point, Allen vas involved in five films betweenBananas and Annie Hall, each contributing to his growth as a filmmaker. In the opening, Alvylets the audience know right away that he has fallen in love but has losther to some producer-type and her singing career in Los Angeles. 1987: 39-42, 51, 84, 87-88.Kauffmann, Stanley. Obsessedwith New Orleans jazz, Allen plays for no money or recognition, just forthe pure joy of it. His work here was called: "restrained, skillful and enormously "sympathetic," and foreshadowed thedeepening seriousness and artistic ambition of his future work (Sinyard41). With this film Allen shifted insubject to self-revelation and in persona from stooge to philosopher. Anexample is the pram careening down some steps in the manner of the OdessaSteps sequence in Eisenstein's revolutionary movie, Battleship Potemkin(1925) (Sinyard 23). Stanley Kauffmann, in his review of the film, uses the movie'sopening and closing jokes to summarize the story: (1) Life is rotten butwho wants less of it?, and (2) Life is crazy, but it's crazier not to goalong with the craziness (142). But, as Kauffmann says in his review, the scriptstill has to be judged finally in terms of its gags and not by conventionalcriteria (142). As Allen's second directorial attempt, Bananas lacks a certain levelof sophistication. As Alvy disparages Los Angeles in the film,describing it as a place whose "only cultural advantage is that you canmake a right turn on a red light," so Allen snubbed the city on its biggestnight (Zolotow 95). However,having always assumed that good material would get the laughs, he was tolearn the hard way that delivery did not ensure success. As aresult of the similarities to his own life, the film is much more realisticand structured than Bananas (Sinyard 46). He is basically a shy man whogoes his own way. To achieve this power, however, meantstriking it rich on an earlier writing assignment, and that he did. It was and continues to be Allen's apparent limitless capacity toabsorb new ideas that allowed him to grow from the wisecracking Brooklynboy to the most popular comedian of his generation. In comparing and contrasting two such diverse films,Bananas and Annie Hall, one can see the multifacets of this complex man. The comparison will center on the maincharacters, their neuroses, relationships and sexual attitudes and actions. Throughout the unstructured and, what many call,scatterbrained plot, the jokes range widely in quality and style. The central conic sot-piece is Fielding's trial which brings togethermany themes and stylistic characteristics of the movie (Sinyard 23). And then, like any other cooperative artistic endeavor, realitystarts to creep in and compromises are made. "Woody and His Movies." Reader's Digest Feb. In addition, the delaying of the verdict by a commercial forNew Testament cigarettes is a reference to Allen's distaste for television.And, with Fielding bound and gagged during the trial, Allen spoofs thecontempt trial of the Chicago Ten in 1969 where one of the defendants,Bobby Seale, was similarly bound and gagged. But I had a conscience. New York: Harper & Rowe, 198 .Osborne, Robert. The most original and brilliant screen conic sinceCharlie Chaplin, Allen has achieved success and notoriety in a relativelyshort period of time (Sinyard 8). Interpreting Dr. Ruben's book in a series of revue sketches onsexual themes, Allen says, "The picture contains every funny idea that I'veever had about sex, including several that led to my divorce" (Sinyard 2 ). A period piece set in 1812, this story was inspired byTolstoy's War and Peace. If Annie Hall caught the critics' fancy, though, Allen gained newnotoriety when he refused to attend the Academy Awards ceremony at whichthe film received top honors. Once he was able to develop this true comic personality, the WoodyAllen now infamous through his many films surfaced. His wives were Jewish but his girlfriend, Annie, is verywaspish, and that bothers him. Kauffmann, while acknowledging that anti-semitism still exists, believes that Allen is clinging to something thathas at least subsided and that he does so only to continue his persona ofthe self-deprecator (143). Annie, however,is happy in her new California lifestyle and stays. The purpose of this researchwill be to compare two of his 197 films, Bananas, 1971, and the AcademyAward-winner Annie Hall, 1977. Further, Alvy twice mentions the Groucho Marx gag about refusing tojoin any club which would accept him as a member. In undertaking this analysis, however, a look at Woody Allen himself, hisbackground and point of view, are necessary for understanding his films.In addition, a look at Allen's other filmmaking as relates to both Bananasand Annie Hall and his developing sophistication and style will beincluded. Louise Lasser in Bananas and Diane Keaton in Annie Hallwere seen in a number of his other films in the 197 s. In addition, he is able to reference the periodsfrom Eisenhower to Kennedy to Nixon and insert his own personal interestssuch as his preference for New York over Los Angeles, his hatred oftelevision and his dislikes in literature and film. She broughtwith her a nurturing effect that has made a noticeable change in Allen ashe steps more into the background, becoming a stronger presence behind thecamera. As the co-writer, director and star of Bananas, Allen had completecontrol over the project. But the darkest joke is the pre-credit scenewhere a political assassination taking place is designed as a televisionsporting event. Unlike Bananas, there are no attempts at being arty orsatirizing famous films and his acting does not include physical comedysuch as pratfalls or muggings (Kauffmann 143). Further, Allen displays his neuroses about being Jewish, as well ashis sexual hangups and his fear of death. This was the second of many films to come inwhich this would be the case. In looking back on the early Allen movies, they are more appreciatednow than they were at the time. If there is one word to describe what made Annie Hall such as successin the minds of critics, it is consistency. Allen, considered a self-deprecator of the first order, who gets laughs by holding himself up toridicule, perfects this method of humor and maintains it consistentlythroughout Annie Hall (Kauffmann 141-142). The stage was set for Bananas. In1972, he wrote the screenplay from his own play and acted in Play It AgainSam. With bits such as the many asides to the camera a laGroucho, the script's form is just that, a series of bits. In the script, Allenis not really analyzing political realities as much as he is analyzingpersonal anxieties, such as when he discloses to his analyst that he stolea pornographic book in braille ('I rubbed the dirty parts') while lying onthe couch. Allen's female co-stars usually have been his off-screen leadingladies as well. As Allen's character goes through life, hecontinually scrutinizes these two "commandments" for some hint of how tomake love last. This crazy plot goesawry and Fielding not only falls into the hands of the rebels buteventually becomes their leader (Sinyard 21). Bananas and Annie Hall represent onlya small part of his library of film. 1988: 93- 97.----------------------- 15 In the end, the discussionfollowing Nancy's confession that Fielding is just not for her, with noanswer as to why, allows Allen to address a multitude of issues surroundingrelationships. Then in walks Nancy(played by his second wife Louise Lasser) and all that changes, at least asFielding sees it. Allen first fell in love with comedy when he saw Bob Hope in The Roadto Morocco (Sinyard 8). Through their relationship, Allen points out the sexual conflicts andneuroses of both sexes. Critics herald Annie Hall as a much better script than Bananas, aresult of Allen's growth. Further, unlike Bananas, thecentral subject here is love, not sex, though it is always lurking aroundthe corner. Encouraged by his teachers, he began to send jokesto columnist Earl Wilson and Walter Winchell and soon was working afterschool as a gag writer for two dollars an hour (Zolotow 96). Film critics and film buffs have trackedhis growth as a writer, actor, and director and have seen him become moreproficient and clever with the medium while constantly changing andsurprising them with a variety of stories. New York: Exeter Books, 1987.Zolotow, Maurice. Made for $1.5 million, Take the Money and Run displayed theCharlie Chaplin comic in its most realized form. His film have never lost money and, inthe case of Annie Hill and the 1986 Oscar-nominated Hannah and Her Sisters,have even made a substantial profit. While Annie is intimidated by Alvy's intellectualsuperiority and condescension, Alvy is a little envious and disoriented byAnnie's success as a singer. Afraid of crowds, terrified and intriguedat the same time, Allen was to find success performing live. However, the film was sopopular at the box office, that it gave its writer the power necessary towrite his own ticket. An exaggeration of the period's "hippie," a social andpolitical activist, becomes his romantic interest. Annie, astruggling singer, is filled with her own anxieties and neuroses. In 1969, he got his first chance to direct as well as write and starin a film. It was thecreation of a whole comic personality that would provide him withlongevity. Annie Hill became hugely popular andwent on to win four Academy Awards, including best picture, best director(Allen), best actress (Diane Keaton) and best screenplay (Allen withMarshall Brickman) (Osborne 24 ). And, while Allen also was criticized for using some of the supportingtalent an he did, including Christopher Walken and Colleen Dewhurst, thegeneral consensus was that the film itself lacked some of the intellectualand comic range of his prior film, Love and Death (Sinyard 49). 6 Years of the Oscar. When asked what he enjoys most about filmmaking, Allen responds thatit is the writing. The ending is left open-ended. In the film, Allen'sparanoia about being a Jew comes through every time he is with a gentile,male or female. It alsomade money and critical reviews, thus getting him a deal with UnitedArtists which included two million dollars for his next film plus a three-film contract. Whatever the sentiment, however, the movieswere to be Woody Allen's natural home. His activities as a product-tester plant the image of a guy who is totally unsuited for the job and afailure (though he won't admit it) with the women. Woody Allen has been called the greatest comedic filmmaker of the197 s and 198 s. Many would argue that Allen's head-on dealings with the realities oflife began when he agreed to take the lead in The Front, a movie attackingthe blacklisting of show-business personalities for allegedly left-wingsympathies during the McCarthy era in the 195 s. He seems to have believed that his appeal wasbased on his weaknesses, when what most really liked was his subliminalquality of strength. His stand-up act caught the eye of producer Charles Feldman who hiredhim to write the script for what was to become the extremely successfulWhat's New, Pussycat? Born Allen Stewart Konigsberg in Brooklyn, New York, in 1935, into aJewish family, Allen didn't have it easy growing up. In fact,Allen himself thought Annie Hall was rather overrated and liked Love andDeath better as well. However,having control over his writing, in the end, is worth the aggravation. When it comes to directing,Allen is the first to admit that he does not enjoy the process. Allen's demand for creative control isalmost unparalleled in the business. And, for the first time, Allen's direction does not interfere in thestorytelling. Allen is a one-man industry. It was during thisperiod that the persona of Woody Allen, a clown in the tradition of CharlieChaplin, a personality that was a subtle and hilarious exaggeration of allthe characteristics of himself was born. With the 198 s camea new actress, Mia Farrow, who became Allen's romantic ideal. (1965). This is particularly apparent when Nancy cannotseem to get comfortable in the bedroom. As with so manyother actions in the film, this scene is really a visualization of an oldroutine of Allen's from his nightclub act. 1989: 76-76.Sinyard, Neil. Meldingthis philosophy into his relationship with Annie proves to be both humorousand insightful. When he returns to Americato seek aid for San Marcos, he is arrested as a subversive and put ontrial.Bananas represents the first appearance of what critic Pauline Kael callsAllen's "closet potency." Before this film, his humor almost exclusivelyplayed on his meekness and timidity. Thescene also is a statement of the times and includes an array of witnessessuch as a moronic Miss America and a J. He was playing his clarinet at Michael's Pub,something he has done every Monday night since 1971 (Sancton 76). Such is the human dilemmaaccording to Woody Allen; life is terrible. Able to writeup to fifty good jokes in two hours, Allen also began to establish himselfas somewhat of an eccentric for he refused to wear a suit when at work.And, though many of his early jokes were not really that funny, to thosewho have watched him through the years, Allen succeeded because he wasserious, hard-working, brilliant, intensely ambitious and because he workedat it all the time. It was Allen's attitude that, after struggling onthe script to please the difficult Feldman, if anyone wanted a Woody Allenscript in the future, it would be on his terms (Zolotow 97). Here Allen revealsthe absurdity of modern life from the perspective of 2173. The film's hero is Fielding Mellish (Woody Allen) who becomes caughtup in the guerrilla war and impending revolution taking place in the LatinAmerican country San Marcos. Thus, it can be assumed that with hisoriginality in combining comedy and philosophy, his unusual persona of aclown and his genuine romantic idealism and considerable intellect thatother great film are yet to come from this prolific filmmaker. Developing a style of humor rooted in his Jewish background,Allen began writing for the Sid Caesar show, which many believe set astandard for American television comedy that has never been surpassed(Sinyard 8). Hischaracter may be zany at times, more a mime then a verbal comic, and appearto be failing at everything also, but he still manages to become arevolutionary leader. "Play It Again, Woody." Time 23 Oct. He was short with redhair and a big nose, but he was also a fighter who loved baseball andbasketball. Autobiographical in nature, Allen and hischaracter Alvy both have been divorced twice. The film's epiloguehas her returning to New York later and they link up again, but only for amoment. "It always seems great in the writing," he says (Geist51). Allen made his audience forget thathe was in reality a success. Fielding Mellish is a hero for whom politics becomes an inadvertentsubstitute for social failure and disappointed love. The nightclub performer,recreated in his film, became a victim, a schlemiel, that would sockhimself in autobiographical stints covering subjects ranging from theprivations of his early life; his family; and his first marriage (to HelenRosen whom he divorced after five years of marriage) (Sinyard 1 ). However, Allen's material always seemed funnier when delivered byhimself than others. In addition, Annie Hall deals with the Jewish theme throughoutwhereas it was relegated to a minor role in Bananas. He now jokes, "When I vas playing baseball, I could run realfast. In 1973, he made Sleeper from a script he co-wrote which took the sci-fi elements of Everything You Always Wanted To Know About Sex andelaborated them into a complete feature (Sinyard 32). Many ofthe jokes derive their humor mainly from recognition of film quotation. A cynical, anxious-riddenNew Yorker, Alvy falls for a Wisconsin-born and bred Annie Hall. "It seems as if the Woody Allen film critics had all been waiting formaterialized in the form of Annie Hall, which turned out to be the screenromance of the late 197 s" (Sinyard 46). Before My Eyes, Film Criticism and Comment. Toldwith penetrating insights into modern relationships and liberally sprinkledwith Allen's unique dead-pan humor. As a filmmaker, his comedy grew tremendously with each filmrepresenting quantum leaps in his understanding of the medium and of hisown comic potential. And, it was to be theworld of films that would be his main vehicle. In addition, the eating/seduction scene with junkfood is a spin-off of the now famous scene from Tom Jones (1963). Lastly, Fielding's hidingbehind a copy of Commentary on the subway as muggers terrorize thetravelers speaks to the universality of this behavior. Edgar Hoover disguised as a blackhousewife. Based clearly on hisstand-up comic persona, Allen plays the born loser, wearing the samecostumes: sweater, horn-rimmed glasses and scared rabbit look. Allen has spoken disparagingly of the movie,claiming that, "If they had let me make it, I could have made it twice asfunny and half as successful (Sinyard 1 ). But for themost part they work. The Films of Woody Allen. Here Allen is still playing the endearingincompetent, the reluctant revolutionary, but the artistic context isbecoming much more ambitious (41). "Woody Allen." Rolling Stone 9 Apr. However, one can surmise that Annie Hall was sohighly praised at the time because it fit so well the prototype Woody Allenfilm which the critics had wanted. I used to steal second base and then feelso ashamed I'd run back to first" (Zolotow 96). In Annie Hall, Allen's character goes through the emotional roller-coaster of trying to maintain a love relationship. If this paper is not what you are looking for, you can search again: Search for: or Click here to request an essay written just for you.