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

    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…

    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

    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

    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

    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

    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

    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:


    Octavio Caruso
    Viva você também este sonho...


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