quarta-feira, 4 de outubro de 2017

TOP - Os 48 filmes dirigidos por Woody Allen (para o site norte-americano "Taste of Cinema")

How to celebrate such a long career, characterized by the plurality of talents, from its origin as a stand-up comedian to a respected filmmaker, when the protagonist has always been so aware of the existence of this veil of falsehood that wears the praise and awards? The man who, at the beginning of his career, dared to deny the embrace of the expectations of his audience, delivering the austere "Interiors", when everyone expected another light comedy. The fearless one that made "Stardust Memories", a risky thematic proposal that made several critics write that this would be his last project. And recently, demonstrating a fascinating lucidity, he deconstructed the nostalgic sense that embellishes everything it touches, in "Midnight in Paris." This brave artist who annually ignores the producers adulation, refusing Oscar spotlight to play jazz with his friends. The elegant rebel who, without bending to any interest of the masses, anually has all the great actors and actresses, medallions of several generations, anxiously waiting for the chance to receive their timid instructions on the film sets. Woody has become a label, being contested by nations that want to pay him to enclose its characters in their territories. Impressive five decades of rare qualitative constancy, tracing an alternative path paved by the dreams of the boy of yesteryear, Allan Stewart Konigsberg, who at first thought he could get some money writing humorous articles for the vehicles of the region.

This is a complete list of his films as a director, ranked from worst to best.

48 - What's up, Tiger Lily? (1966)
Allen already demonstrates in his first work his tremendous sense of humour daring to take a Japanese satire of the espionage films, in ascension in the time, thanks to the James Bond of Sean Connery, and dub it. Soon in the first scenes we see the director sitting in a respectable office, explaining that he had been summoned by Hollywood to make the definitive espionage film. When asked about the novelty of such a feat, he replies that it had already happened other times, as in "Gone With the Wind." It takes three minutes for the young filmmaker to show off his talent. Nowadays it is common to see this artifice being used in films such as the horrible "Kung-Pow", but he was the pioneer of this extremely dubious art.

47 - Oedipus Wrecks (segment of "New York Stories" – 1989)
Driven by the lightness of the anthology format, Woody exercises with great freshness his comedic talent. And undoubtedly, his half-length is responsible for "New York Stories" still be remembered nowadays. The efforts of Coppola and Scorsese are, at best, harmless. After a total immersion in the existentialist dramas of "September" and "Another Woman," the director revisits his more fun side, mixing themes already worked on texts and inserting glimpses of situations that he would perfect in his productions of the 2000’s, as in "Scoop", where a magic trick is used as a narrative trigger.

The scene where Allen, initially disturbed by his mother (Mae Questel, unbelievably looking just like the director's mother) being summoned to aid in the magician's trick, can not hide the joy at seeing the professional shoving several swords into the box where she went placed. Her dissatisfaction with Mia Farrow's son's fiancée is the supernatural motive that keeps her as an entity in New York's heavens. Only when he rediscovers an old love, the fortune-teller/clairvoyant lived by the brilliant comedian Julie Kavner, the poor mother, showing her approval, returns to her normal state. Sheldon is not interested in understanding how the phenomenon occurred, he is more interested in resolving his relationship with her. The inexplicable, recurring theme in his films, again used as an unquestionably absurd and foolish means, however, acceptable to achieve a greater good.

46 - Hollywood Ending (2002)
The idea of ​​a film director who goes blind and needs to pretend to see to keep working is funny in theory but does not support a feature film script. Could have been a brilliant short, but it’s charming nonetheless.

45 - Magic in the Moonlight (2014)
Some interesting reflections on skepticism, but Allen has already proven to be capable of much better texts in the theme. Beautiful art direction, competent cast performances, but tiresome and predictable.

44 - You Will Meet a Tall Dark Stranger (2010)
The bitter irony of the realistic ending is what redeems a boring script that unfortunately can not make his characters sound interesting.

43 - To Rome, With Love (2012)
The story about the newlyweds was clearly inspired by Fellini's "The White Sheik", the libertarian tone sounds quite artificial, but the film comes into force when Allen is on the scene.

42 - A Midsummer Night's Sex Comedy (1982)
The script was conceived in just two weeks, commissioned by the studio to "plug the hole" that would be caused by the delay in production of "Zelig". The rush is easily noticeable in the finished work (poorly developed characters such as the doctor who is shown as a person centered but who tries to commit suicide by not having the love of a woman whom he has just met), although he has some very scenes good, the whole is pretty bumpy. Woody's weakest film up to that point. Seeking inspiration from his idol Ingmar Bergman (specifically “Smiles of a Summer Night” - 1955), the screenplay explores the flirtation game between three couples who gather in an idyllic location to celebrate the wedding of one of them. It was the first project that counted on Mia Farrow, in a long partnership that would yield great artistic fruits and a huge problem in the justice.

Among the high points, I highlight Adrian's libido romper with her husband, after receiving the spiced Dulcy, some sex tips (Allen: "We can not have sex where we feed, besides, there's a man chanting the "Lords Prayer" in the room, we will be blind"). To simplify his opinion about the importance of sexual relations, Allen's character states: "Sex relieves tension, while love causes tension." After the elegant Leopold tells of her wild erotic dream with Dulcy, she is frightened and asks him, "Jesus, what did you eat before you went to sleep?" They are small moments where we can realize that, even creating something in a hurried way, Woody Allen manages to make an above-average film.

41 - Irrational Man (2015)
Sinning for high philosophical pretension, the script gets lost in act two, but the inspired presence of Joaquin Phoenix helps keep the hope to the schoking end.

40 - Cassandra's Dream (2007)
An excellent ending in search of a plot that honors it. The choice for the style and rhythm of contemporary thrillers highlights Allen's discomfort with the material, but the excellence of the duo Ewan McGregor and Colin Farrell make up for it.

39 – Alice (1990)
Alice (Mia Farrow) is a middle-class woman who feels bored by her 16-year marriage and falls in love with an elegant saxophonist. In search of happiness, she meets the acupuncturist Dr. Yang. The doctor realizes that Alice's problem is in her mind and decides to prescribe strange and mysterious herbs that provoke unusual reactions. The delirious and bittersweet style that married perfectly in the wonderful “The Purple Rose of Cairo” leaves to be desired here.

38 - Don't Drink The Water (1994)
In the early 1960s during the Cold War, the Hollander family caused an international incident when Walter (Allen) took pictures of the sunset in a region of delicate political situation. In order not to stop in prison, the Hollanders take refuge in the American embassy. This film made for television adapts one of his most famous plays, one of his funniest texts, involving political and religious criticism.

37 - Everything You Always Wanted to Know About Sex... (1972)
Similar to what happened with his first work "What's Up, Tiger Lily?", Allen did not intend to approach this concept. United Artists bought the rights to the eponymous book, written in 1969 by the popular Dr. David Reuben. Woody was disgusted when Reuben went to the traditional "Tonight Show" and quoted one of his comic phrases, without telling the source. The young filmmaker then used all his comic verve and adapted the book in the best possible way, highlighting the most absurd aspects in a comedy of sketches.

Among its seven segments, there are two that I consider to be masterpieces in the director's career: "What is sodomy?" And "What happens during ejaculation?", they show a fully-fledged screenwriter, seeking to subjugate the limits and surpass them. In the first, Gene Wilder lives a doctor who falls in love with a sheep. The brilliance lies in the fact that Wilder acts seriously, as if he were a character out of Ian McEwan's novels. In the second, Allen interprets a sperm that undergoes an existential crisis, just minutes before its great moment. Nuff said. The other segments are fun but not very memorable.

36 - Small Time Crooks (2000)
Ray (Allen) is a dishwasher who has a great plan: rent a shop next to the bank and use it as a front to build an underground tunnel to rob it. The concept is simple as in the first comedies of his career, a kind of gift for those fans who missed his most clumsy persona.

35 – Celebrity (1998)
Acid critic that disrupts the falsehood of the high society lifestyle, the absurdity of projecting on the fragile fame industry the insecurity that the individual feels, with the script evoking the best works of Fellini.

34 - Everyone Says I Love You (1996)
The musical attempt is enchanting, with a brief and tender moment when the character of Allen yields to the inspiring power of fantasy as he sings the beloved Jazz standard “I'm Thru With Love”.

33 – September (1987)
Repressed love and hate circle threatens seemingly friendly relationships over a weekend of a family/friends group at a country house. The film that Allen remade from scratch, with another cast, had everything to be chaos, but seen without unjust expectations can propose interesting reflections that magnify the result. "Everything is random. With random origin in nothingness and eventually disappearing forever. "

32 - Café Society (2016)
He embraces digital footage for the first time, but continues marching in the rhythm of his own creative drums, the script touches on essential themes in his filmography such as the existentialist discussion about death, the irony of unrequited love and the acid deconstruction of melancholy nostalgic, with the same vitality of his first works. In this context, the beautiful tribute he lends to the most famous scene of his career, the Queensboro Bridge of “Manhattan”, takes on even more symbolic contours. And even the off-the-hook narration, a worn-out and usually harmful feature, enhances the viewer's emotional investment by being championed by the director's sympathetic voice.

31 - The Curse of The Jade Scorpion (2001)
Allen performs a lovely parody of the noir genre, set in the forties, terribly attacked by critics at the time, but which, carefully analyzed, proves to be superior to almost every comedy the industry releases on a monthly basis, even nowadays.

30 – Scoop (2006)
The construction of the characters arcs is great and the magician interpreted by the director, even though it is not very necessary in the film, end up giving that charming tone which improves greatly on revisions.

29 - Shadows and Fog (1991)
Allen, with one of the best casts he has ever been able to gather, pays a honest homage to German expressionism in the story of a fumbling bureaucrat joining a group of men pursuing a murderer.

28 - Melinda and Melinda (2004)
The structure of the story, from two points of view, tragedy and comedy, could be tiresome in less capable hands, but Allen injects undeniable freshness into the project.

27 - Whatever Works (2009)
A film with the characteristic existentialist humor of Allen, where a genius Larry David criticizes the dogmas of our society. To the characters, it remains only to watch in shock their theories of life, their certainties, fall miserably to the ground.

26 - Vicky Cristina Barcelona (2008)
Two young women, the conservative Vicky (Rebecca Hall) and the adventurous Cristina (Scarlett Johansson), travel to Barcelona to spend their summer holidays and end up engaging in amorous confusions with an extravagant artist and her insane ex-wife. Something in the tone and rhythm of this film, more than any element of the script, makes us end up wanting to review soon, a kind of a magical aura which permeates the work.

25 – Bananas (1971)
Woody Allen's style was still shaping, but all his courageous irony, as well as his authorial confidence, are already visible in this work, which can be exemplified by the references that are made, such as that of the Odessa staircase in "Battleship Potemkin".

24 - Mighty Aphrodite (1995)
Allen uses a classical greek theatre chorus in a very clever way, with the presence of F. Murray Abraham to help count ellipses of the narrative while satirising the tragical content of the story. A couple adopts a boy and the adoptive father (Woody) decides to know who is the biological mother of its son. He discovers that she is a prostitute, lived by Mira Sorvino.

23 - Blue Jasmine (2013)
Since “Hannah and Her Sisters”, Woody did not make up a female character with such passion for detail, without embracing the ever-comical cartoon of extremes. Completely attuned to the world today, the script establishes a jovial and biting social satire approaching class distinctiveness in a post-economic crisis landscape. Allen consciously abdicates some of his narrative features, such as his devotion to sentimentality, for the sake of building bolder dialogues that do not spare his characters in any moment. Generosity with his creations has never been the stronghold of the director, but ideological sadism this time resembles at various points the way the writer Tennessee Williams chose to address his plot. There is something of R.W. Fassbinder, in the way he works the protagonist's tragedy. He plays with our perceptions the moment we begin to convince ourselves of how the character will act, which leads us to automatically exercise a moral judgment. The script then hits us with a punch, by making us realize that we are as (or more) vulnerable as the potential target of our stones. After all, we witness the various "Jasmines" that exist in our society, aspiring only to "have" (adding value to futility), living from a languid illusion that corrupts the best human virtues.

22 – Sleeper (1973)
Miles Monroe is admitted to a hospital for a simple operation but ends up waking up two hundred years later in a world inspired by the works of H.G. Wells, Ray Bradbury and George Orwell. The director even talked to science fiction master Isaac Asimov, assessing how to approach this dystopian world of the future. Of course this chat must have made much more laughter than real discussions about the topic, since the project proposal was never to deal seriously about the future. Allen was beginning to show a grittier mood, with more elaborate gags.

21 - Anything Else (2003)
In Jason Biggs, Allen's bold option, we find the young version of the type that the filmmaker defended for most of his career. The script builds a humorous philosophical tangle from a simple-minded situation that happens on a taxi ride.

20 - Radio Days (1987)
At the beginning of World War II in New York, a simple Jewish family has their dreams inspired by the radio programs of the time. The film mingles the nostalgic vision of a narrator to the innocence of his childhood. The radio, the union factor of the family, revealed behind the sound waves.

19 - Stardust Memories (1980)
In the film, Allen explores one of the consequential aspects of fame, the gathering of an entourage of admirers, some even fanatics, who seek in the director a satisfaction of their personal desires. His character seeks out a new path, an artistic challenge, experimenting in different genres, but his audience quizzes him debauchedly and rejects him. Surely it is a response of the filmmaker after the cold reception of the public with his project of dreams: "Interiors." His fans are portrayed by the ugliest extras and caricatures already assembled in a single project. They constantly approach him with absurd arguments, analyze his works out of context and interpret them in the most misguided way ("the humorist is a symbol for homosexuality"), interrupting him in routine situations to apply for a job. Even beings from space descend from their ships to assert to him that they prefer their early comedic films.

18 – Interiors (1978)
The commercial success of the previous film only established, more so, in the director's mind, the desire to demonstrate to be able to emulate his idol: Ingmar Bergman. He always underestimated the value of his own works, comparing them with the works that were performed by other, more engaged directors of the day, without realizing that laughter is a more forceful criticism than austerity. The fact is that the film deals with a very strong theme, without ever appealing to the necessary subterfuge of comic relief, making everything very reflective and austere.

17 - Manhattan Murder Mystery (1993)
How fascinating to realize the irresistible chemistry between Woody Allen and Diane Keaton, one of the best movie partners. The humor that sprouts in pieces subtly inserted between dialogues, a constant game of scene between two artists that make clear the love and respect they feel for each other. After a long hiatus, symbolized by the erratic Mia Farrow era, the duo meets in a plot that honors the formula of classic Hollywood detective thrillers. The director always wanted to approach this universe, so he took a tense moment in his life to relax in the project, well deserved vacations. This more unpretentious attitude in filming ends up being positively reflected in the end result, considered by many to be his funniest film of the decade.

In the most tense scenes, putting into practice the teachings of Hitchcock, Allen insists on exposing the public to the dangers, leaving him always ahead of the characters, which enhances the suspense, balanced with his characteristic sense of humor, element that, in a different tone, was also present in the films of the British master. I quite like the way the script instills his wife's obsession as the catalyst for a welcome renewal in that worn-out relationship. The clumsy investigation connects the couple again. It is also interesting how the plot, in a layer of interpretation less apparent, conflicts with the concept of art socially considered as serious and respectable (the husband does not bear to listen to opera), and popular art, cinema, specifically the comedic genre, that playfully framed the ending, with the direct reference to "The Lady from Shanghai" by Orson Welles.

16 - Bullets Over Broadway (1994)
In the 1920s, a theatrical author (John Cusack) was forced to accept in the cast of the play a young woman (Jennifer Tilly) with no talent, as she is the girlfriend of the gangster who produces the show. And as if that were not enough, the bodyguard (Chazz Palminteri) of the young woman decides to interfere all the time in the script of the play. The script is excellent, perfectly balancing the love declaration of theater and the criticism of the lack of freedom in the process of creating a piece of art.

15 - Husbands and Wives (1992)
Gaby (Woody Allen) and Judy (Mia Farrow) are shocked by the news that Jack (Sydney Pollack) and Sally (Judy Davis), a very close couple of them, are splitting up, most likely because Gabe and Judy are also distancing themselves and now realize this. So as Jack and Sally try to meet new people, Gabe and Judy's marriage turns out to be worn out and they begin to feel attracted to other people. With a more intimate style of filming, consistent with the intimate approach to the characters, Allen delivers a brutally real portrait of a relationship that is going down, sinking into their illusory perceptions of life.

14 - Sweet and Lowdown (1999)
Allen's homage to Jazz, his favorite style of music, could not be more passionate, favored by a spectacular, visceral delivery of Sean Penn, and a documentary structure that is set up by the script, with "false testimonies", half-cut edition, resulting in a beautiful delicacy.

13 - Take The Money and Run (1969)
The first ten minutes are great because we get to know the young man's first steps in crime. Of course, before he tried a simple life, like a cellist. The problem was to follow the street band, with its instrument in one hand and, in the other, a chair. There was no way, for the route of crime seemed to be at its destination. After petty thefts, he was arrested for the first time. Inspired, he tried to flee using a bar of soap and his craft expertise. A few days later, with his perfect soap revolver painted with shoe grease, he ventured to cross the walls that imprisoned him. Bad luck, he did not notice the torrential storm that punished that place, making, in a few seconds, to the surprise of the police, his revolver turned a large ball of foam. Comedy perfection with very low budget.

12 - Another Woman (1988)
In order to write her new book, an intellectual from New York rents an apartment that has a psychoanalysis office as a neighbor. Through her apartment you can hear the confessions of the patients, especially of a pregnant patient, intensifying a dormant existential crisis in her. Allen emulates John Cassavetes, including working with his muse, Gena Rowlands, with some of the best dialogues ever written in his career. “And I wondered if a memory would be something you have or have lost. ”

11 - Deconstructing Harry (1997)
Allen extrapolates the bond between fiction and reality, exploring the monotony of life in one of the most brilliant films of his career. He acts as a writer who creates a character in which his analyst tries to show him how much he wants to control the world through his unfocused view of so many idealizations, illusions, avoiding to see life as it truly is.

10 - Match Point (2005)
Chris Wilton (Jonathan Rhys-Meyers) is a professional tennis player who, tired of the travel routine, decides to leave the circuit and devote himself to teaching sports in an elite club. It is there that he meets Tom Hewett (Matthew Goode), son of a wealthy family who soon becomes his friend due to some interests in common. Invited to go to the opera, Chris meets Chloe (Emily Mortimer), Tom's sister. Soon the two begin a relationship, to the joy of her parents. Chris is shaken when he meets Nola Rice (Scarlett Johansson), Tom's beautiful girlfriend who is not well accepted by his mother. Surprising the world, Allen has renewed his art with the courage of a young man who is trying to steady his name in the industry.

9 - The Purple Rose of Cairo (1985)
Inspired by Buster Keaton's "Sherlock Jr.", Woody creates one of the most beloved unanimity of his career, impossible not to be enchanted by the plot of this film. The trajectory of the protagonist symbolizes the importance of art as a driving force to resist the sufferings inherent to the human condition, something that the director himself would rework in a beautiful sequence of "Hannah and Her Sisters. The waitress lived by Mia Farrow, fragile figure, can not see herself in the reflection of the mirror, without self-love, with her self-confidence destroyed after years of a relationship with a typical coarse macho type. With no prospect of improvement in her living condition, following the decrepitude of her devastated city by the Great Depression, she decides to spend most of her free time inside the movie theater, absorbing all the magic of that environment. The concept is simple, the photography of master Gordon Willis, in his last partnership with Allen, shows the fable elements of the plot, reserving for the internal cinema environment a warmly ethereal glow, contrasting with the faded tones of the sad world that the young woman finds when the lights turn on.

8 - Love and Death (1975)
In this comedy he explores the limits of his comfort zone, using bold references to the literary work of Dostoievsky and Tolstoy (it is worth remembering that in his earlier works he had been more protective of the slapstick and popular humor), his fascination with his idol Ingmar Bergman (notice how he films a Russian speaking directly to the camera), and a direct homage to his favorite film, "The Seventh Seal." The greatness of the production impresses and the director shows total confidence in his technique. Diane Keaton again fills the screen with her charisma and beauty, living the protagonist's cousin. Passionate about the complexity of the young woman, who espouses very witty dialogues in her existentialism, a new element in the director's work that would become a pattern, she is frustrated to realize that she does not see him with the same eyes of overwhelming desire. The script demolishes that austere seriousness that is usually present when discussing these themes.

7 - Crimes and Misdemeanors (1989)
A New York doctor (Martin Landau) tries desperately to cover up his wife for his life of betrayals. A documentary filmmaker (Woody) fights temptation while producing his new film. The director examines the human soul with disconcerting dialogues and strong inspiration in Dostoievski, working on two stories of adultery. Years later he would return to a similar theme in “Match Point”.

6 - Annie Hall (1977)
The most popular work of the director, laureate with the main Oscar of the Academy, besides just acknowledgments to the performance of Diane Keaton and the direction of Allen. The apex in the early part of his career, which would begin the following year to take bolder paths. The more sober style already shows the change of attitude soon in the initial credits, title in white Windsor source, contrasting with the black background, adopting the format that would accompany it for the following decades. After playing with the future and the past of society, subverting as a caricature, Woody, for the first time, appears as a character with which the public can identify. There is a lot of himself in the script, making it even more interesting to follow his stories about his childhood, especially the great sequence in which his classmates reveal what they will become as adults, instituting a simple and very efficient analogy: the house in which he grew up to the sound of the fights of the parents, under a roller coaster.

5 - Midnight in Paris (2011)
Woody, demonstrating a fascinating lucidity, deconstructed the nostalgic sense that embellishes everything it touches, evoking elements of science fiction, with a charming tenderness that evokes "The Purple Rose of Cairo." In choosing to make the journey in time performed by the protagonist represent the realization that the past, however fascinating, was not as perfect as he had idealized, the script highlights the importance of the individual to seek full satisfaction in their own reality. A very mature and exciting vision of a filmmaker who refuses to embrace creative conformism.

4 - Broadway Danny Rose (1984)
The film enchants mainly by the tenderness with which Allen portrays the characters. The protagonist is revealed to us through a relaxed chat, at a restaurant table, among comedians, lovingly remembering this talent agent who truly bet on his artists, no matter how simplistic they appear to be, of men who shaped dogs with balloons, even amateur magicians and one-armed jugglers. He valued more the human element, the possibility of, overnight, a stranger becoming famous for his Art, overcoming its limitations. Danny Rose does not fully believe in the quality of the numbers of his agents, this is what matters least, he genuinely has created a bond of friendship with them. By selling his works, he extols their character and kindness, a sort of love letter from Woody to the producer who bet financially on his work when he was just a shy young unknown comedian: Jack Rollins. The very concept of celebration of kindness, in an area so contaminated by egocentrism and dirty play, already enhances the theme of the film.

3 – Zelig (1983)
Criticism is accurate, showing how people shape themselves, even character, in order to please and be accepted. And, of course, dignitaries with the most diverse interests begin to use Zelig’s words as allegory for their activities. Zelig eventually becomes a sort of "Chance", the gardener played by Peter Sellers in "Being There." Mia Farrow lives a sweet doctor who believes that the phenomenon is psychological, a manifestation of someone who can not express herself, leading the script to also address the machismo of the time, showing the aggressive reaction of doctors to this new hypothesis. The treatment process is so efficient, that he can even disagree with other opinions, something unthinkable in his former reality.

2 - Hannah and Her Sisters (1986)
Inspired by "Fanny and Alexander" by his idol Ingmar Bergman, Allen works on the evolution of a family nucleus through three annual celebrations, from the standpoint of the leitmotiv advocated on the scene: "The heart is a very, very elastic muscle." In the most beautiful scene of the film, it captures what I consider the best explanation for life. His character believed he was about to die, saddened also by the impossibility of his wife becoming pregnant, without passion for the future, then he walks aimlessly for a few hours, guided only by the spark of hope that refuses to yield to the fatal disease which he believes he has. He even aimed the rifle barrel at his own head, believing there was no motivation in his existence. Nothing seemed to make sense until he entered a movie theater and, even wrecking himself in an ocean of depression, he found himself smiling with a comedy of the Marx Brothers.

The character concludes that even life being a ride on a roller coaster of more lower than highs, those brief moments of comfort and joy are worth the price of admission. And the unknown element inherent in all of us, who pursued him with so many questions, would never be fully revealed, no matter how insistently he asked. He then relaxes in the armchair, with all his internal conflicts succumbing to the weight of that mild entertainment, and allowed himself the pleasure of fun. The mood acquired in that session motivated his spirit to face another day. And a year later, engaging in a much happier relationship with another woman, in an unexpected act of fate, he is thrilled to have fulfilled the dream of being a father. Classic Allen!

1 – Manhattan (1979)
Woody's best work as an actor. This film represents the closing of the first cycle in Allen's career, after reaching the perfect mold with "Annie Hall" and venturing into his first drama, "Interiors." "Manhattan" is the perfect junction of drama, romance and comedy, pioneering what many call the "Woody Formula". From the beginning, to the sound of Gershwin's "Rhapsody in Blue," framing images of the city, to the excellent final dialogue between Woody and Mariel, where he discovers to be less mature than her, we find a writer confident and at his creative height. Black and white photography by Gordon Willis, who claimed to have been his best film, lends even more elegance to the project, including the iconic Queensboro bridge talk scene and the use of shadows in the planetarium chat. The way Mariel behaves, his naturalness in confronting Diane Keaton, when she asks about her occupation, who answers, "I go to school," and her latent admiration for the older, refined man, a complicated theme, the age difference in the couple, sound extremely natural. The text is great, co-written by Marshall Brickman, repeating the partnership of "The Sleeper" and "Annie Hall," but who steals the show is Mariel (and when Meryl Streep is in the same cast, that's saying a lot).

* Lista preparada para o site norte-americano "Taste of Cinema". Link para a postagem original: http://www.tasteofcinema.com/2017/all-48-woody-allen-movies-ranked-from-worst-to-best/

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