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Entries in Woody Allen (2)



A traditional festive countdown, reflecting upon my 2016 movie-watching moments...

When the dust settled on the greatest decade in Hollywood history, it was these three men who were at the forefront. They emerged from the 1970s with classic films to their names, works that defined and altered the ways movies were made and watched; they remained figgureheads of the American industry for four decades, delivering critical and/or commercial hits again and again. But something happened in 2016 that their legion of fans could not quite comprehend – they were proven to be fallible…

History says…: The most successful director in cinema history, Oscar nominated in every decade for the last 40 years. His astonishing back catalogue includes Jaws, Close Encounters of The Third Kind, E.T. The Extra-terrestrial, The Color Purple, Empire of The Sun, Schindler’s List, Saving Private Ryan and Munich; as a producer, Poltergeist, Gremlins, Back to The Future, Men in Black and True Grit.  
And in 2016?: Cannes rolled out the red carpet for the World Premiere of The BFG…and no one cared. Spielberg spoke of his affinity for Roald Dahl’s source material, the beloved book he read nightly to his children; of how he has neared shoot dates on the project for decades (at one point, Robin Williams attached), but effects technology failed to match his vision; of his ‘bromance’ with Bridge of Spies star Mark Rylance, whose face peers out from behind the mo-cap/CGI titular character. But critics were divided (the post-screening mood in Cannes was chilly) and audiences couldn’t be wooed; it stumbled out of the gate in the midst of the US summer and crawled to an anaemic US$55million domestically, an underwhelming US$122million globally (against a budget of US$140million).
Can he bounce back…?; There have been some stumbles along the way – namely 1941, Hook and War Horse - but his natural storytelling prowess and commercial instincts tend to rebound strongly. He followed 1941 with Raiders of The Lost Ark; Hook with Jurassic Park; War Horse with Lincoln. He is deep into production on the adaptation of the pop-culture sci-fi phenomenon Ready Player One (due 2018), a seemingly perfect fit which see’s him back in Minority Report/A.I. territory.

History says…: After a series of timeless comedies (Take the Money and Run; Sleeper; Love and Death), he emerged as the quintessential ‘New York filmmaker’ of the 70s when he wrote and directed the Oscar-winning rom-com, Annie Hall. AMPAS is always looking to reward the prolific, often brilliant auteur; he has 19 nominations and four Oscars (most recently, for his Midnight in Paris screenplay in 2012). European cinephiles cite his period of Bergman-esque introspection (Interiors, 1978; September, 1987; Another Woman, 1988) as works of genius.
And in 2016…?: Was afforded Opening Night honours at the Cannes Film Festival for Café Society, his melancholy look at Hollywood’s golden years. General consensus was that it was Woody on auto-pilot; he had done this rose-coloured, bittersweet nostalgia trip before and better, most notably with Radio Days and Bullets Over Broadway (Editor’s note: we liked it); it did US$11million in the U.S., bringing out the die-hard Allen fans but few others. A bad year turned worse when salacious accusations regarding his private life were dragged out again, this time by Mia Farrow’s son, Ronan. Attention turned to the premiere of his Amazon TV series, A Crisis in Six Parts, in which he co-starred opposite Miley Cyrus and comedy legend Elaine May. By the time Variety listed it as the 5th worst television show of the year (“It’s mind-boggling that anyone thought this was a good idea”), 2016 proved to be Allen’s annus horribilis.
Can he bounce back….?: He has an ‘Untitled Woody Allen Project’ due in 2017, with stars Kate Winslet, Justin Timberlake and Juno Temple. Allen has stumbled before, including a period at the turn of the century in which his U.S. films had become so disposable, he fled to Europe (and really bounced back, with the superb Match Point and Oscar winning Vicki Christina Barcelona). At 81, time may be a factor, but his work ethic and on-set energy is faultless.

History says…: One of the greatest filmmakers ever to step behind a camera. Along with peers like Spielberg, De Palma, Coppola and Lucas, Scorsese was one of the original ‘Movie Brat’ directors, emerging in the 70s with an encyclopaedic knowledge of film history and a seemingly effortless talent for pulsating narratives. His classics include Mean Streets, Taxi Driver, The Last Waltz, Raging Bull, The King of Comedy, After Hours, Goodfellas, Casino, Cape Fear, Gangs of New York, The Departed (for which he scored his first Best Director Oscar) and The Wolf of Wall Street. 
And in 2016…?: Not included amongst those ‘classics’ is 1993’s The Age of Innocence, his bloated, self-important Oscar-bait period piece which sank under its own pretension despite some superb ensemble acting (Daniel Day Lewis, Winona Ryder, Michelle Pfeiffer). To wit, Silence, Scorsese’s latest over-produced, history-lesson bore, in which an earnest, sobby Andrew Garfield plays a Jesuit missionary, searching for Liam Neeson’s turncoat padre while preaching what was a forbidden religion in 17th century Japan. A former seminary student, Scorsese had been obsessed with Shūsaku Endō’s 1966 novel for decades, only now having the cache to pull together the eight different independent financiers needed to cover costs. Not even Scorsese could wring studio backing for the production; sensing award season potential, a moribund Paramount finally picked it up for distribution. Critics will love it because ‘A Scorsese passion-project’ makes good copy, but audiences, even the burgeoning faith-based demo, will find it a turgid slog. Add to the mix the critical slaying and cancellation of his HBO production Vinyl, and 2016 has been a year to forget for the great director.
Can he bounce back….?: Already happening, with the buzzed-about casting of Robert De Niro, Al Pacino and Joe Pesci in his next picture, The Irishman.



On May 11, Woody Allen will make history when his latest work, Café Society, has its World Premiere as the Opening Night film of the 69th Cannes Film Festival. It will be the third feature from the revered director to debut in the prestigious slot – the first time that a filmmaker has earned that honour. For the 80 year-old New Yorker, it is the latest declaration of respect and admiration from the event that has feted his work for over three decades…

MANHATTAN debuts in 1979
Like the rest of the cinema-going world, French cinephiles warmed to Allen as a true auteur in the wake of his blockbuster hit, Annie Hall. His early comedies Sleeper and Love and Death had played well to Euro audiences, but it was the 1977 Best Picture Oscar winner that put him on the map; a huge French hit, it would be nominated for the Foreign Film Cesar. When it was announced his follow-up would be a cinematic love letter to The Big Apple, interest from the Cannes Film Festival organisers was piqued. Manhattan opened in the US on April 25 to positive reviews and audience favour; a fortnight later, it had its international premiere Out of Competition at the 32nd Cannes Film Festival. Despite the reclusive Allen’s decision not to attend the screening (actress Mariel Hemingway represented), it was the beginning of a beautiful friendship between Cannes and Woody. The Cesar voting body said thank you by honouring Manhattan with the Best Foreign Film trophy. (Pictured, right; Mariel Hemingway in Cannes, 1979)

(Above: Woody Allen and Mia Farrow in Broadway Danny Rose)

Allen’s cinematic fortune ebbed and flowed in the following years. Stardust Memories (1980) divided critics; A Midsummer’s Night Sex Comedy (1982) was considered a trifle; Zelig (1983) restored his critical lustre but only posted arthouse numbers. The resurgent career impetus that Allen would enjoy for the remainder of the 1980’s began when the 1984 Cannes Film Festival programmed out-of-competition the Oscar-nominated Broadway Danny Rose (the slot resonated with Allen, as it put him in the company of his film idol, Ingmar Bergman, who was presenting After the Rehearsal). Featuring a brilliant comic turn by then-wife Mia Farrow, Broadway Danny Rose was the first on Allen’s ‘Americana’ films, works that embraced the melancholy of show business’ early days, and the Cannes crowd loved them. The Purple Rose of Cairo (1985) would win the coveted FIPRESCI Prize at the 1985 event; Radio Days (1987) screened Out of Competition in 1987. Allen’s first taste of Opening Night prestige was 1989’s New York Stories, an omnibus film that featured Allen’s ‘Oedipus Wrecks’ short alongside contributions by Martin Scorsese and Francis Ford Coppola; the film garnered a mixed reaction and would be the last of Woody Allen’s film on the Croisette for over a decade.  

HOLLYWOOD ENDING opens the 2002 Cannes Films Festival.
Cannes gave Woody some breathing space throughout the 1990’s, a decade that featured some of his most revered works (Husbands and Wives, 1992; Bullets Over Broadway, 1994; Mighty Aphrodite, 1995; Sweet and Lowdown, 1999). It would not be until 2002 that Cannes rekindled the love affair when they afforded his contemporary LA-set comedy, Hollywood Ending, his first solo Opening Night red-carpet rollout. In hindsight, the film seems an odd choice; it is not regarded as one of Allen’s best and represents, alongside 2003’s Anything Else, what many consider a low point in the filmmaker’s output. But the coverage provided in the world’s press, trumpeting the appearance of Allen in Cannes for the first time in his long career, was pure showbiz and entirely in line with the A-list event glamour one expects from the Cannes Film Festival. (Pictured, right; Co-stars Tiffani Thiessen and Debra Messing accompany Allen and wife Soon-Yi at the Cannes 2002 premiere of Hollywood Ending).

The director sensed that true creative freedom and an enriched appreciation of his work were best explored in Europe (much of his funding had been sourced from continental backers in recent years). Despite the occasional sojourn to his homeland (the underappreciated Melinda and Melinda, 2004; Whatever Works, 2009), the 2000s brought a re-energised Allen back to the critical and commercial forefront with three European-lensed films that played to adoring Cannes audiences. In 2005, his potent London-set thriller Match Point played Out of Competition, the ecstatic response paving the way for his best box-office performer in 20 years; in 2008, the erotically-charged Vicky Christina Barcelona set the Croisette ablaze, premiering at Cannes ahead of a US$100million worldwide gross and a Supporting Actress Oscar for Penelope Cruz; and, in 2010, Allen returned to London, this time with Naomi Watts and Josh Brolin, for the whimsical drama, You Will Meet A Tall Dark Stranger, premiering Out of Competition. It was a prolific period of production that saw the director at the height of his craft, offering a run of films that culminated in Allen’s second Opening Night honour…

(Above: Allen at the You Will Meet a Tall Dark Stranger press conference, Cannes 2010)

Cannes organisers knew Allen’s 41st film was something special when they secured it for the 64th edition’s May 11 Opening Night slot in 2011. The Festival broke with tradition and opened the event to both industry types and the general public. It was a coup for Allen’s French distributor, who put the film into day-and-date national release, ensuring massive media coverage. The director jumped on board the promotional juggernaut, bringing to the Croisette his stars Owen Wilson, Rachel McAdams, Michael Sheen, Adrien Brody and local starlet Lea Seydoux. And critics were unanimous; Midnight in Paris was Woody Allen’s best work in years, the time-hopping romantic fantasy ultimately earning Allen the Best Original Screenplay Oscar (from the pic’s four nomination). Robert Weide’s Woody Allen: A Documentary would follow in 2012, and the director himself would return in 2015 with his Emma Stone/Joaquin Phoenix starrer, Irrational Man, but the rapturous Midnight in Paris soiree remains the night to remember from the Cannes Film Festival’s long and affectionate romance with Woody Allen. (Pictured, right; Allen with his Midnight in Paris cast, Cannes 2011).

The 69th Festival International du Film de Cannes will launch with a screening of Woody Allen’s new film, Café Society, on Wednesday 11 May in the Palais des Festivals’s Grand Théâtre Lumière as an Official Selection Out of Competition title.