Before this weekend I had actually seen just one Woody Allen film, Annie Hall
Midnight‘s main setting couldn’t be much more in my wheelhouse, as it contains an homage to the 1920s within its meditation on nostalgia and our modern happiness paradox, along with a touch of magical realism that, to Allen’s great credit, is never actually explained. Owen Wilson, as likeable as I have ever seen him, plays the Allen stand-in character Gil, unhappily engaged to a narcissistic, shallow woman (played unlikeably by Rachel McAdams) who seems like she might be one of the Bluths’ first cousins, and whose mother might be Lucille Bluth’s long-lost twin sister. Gil is on a vacation to Paris with his fiancee and future in-laws, yet he wants to settle in Paris and try to become a serious novelist rather than continue as a hack screenplay writer, while his intended wants to live to Malibu and spend a lot of money on material things.
The engagement/family plot is almost worthless except as a setup for Gil’s desire to escape to another life, or, as chance would have it, another era. I was close to giving up on the movie after ten minutes before the real story emerges. (Spoilers ahead.) While wandering around Paris alone late one night, Gil is picked up by an old car full of drunken French revelers who insist that he join them and who take him to a party where he meets an American couple named Zelda and Scott Fitzgerald, only to discover after his initial skepticism that he’s been sent back in time to the 1920s. Over the course of several such nights, he encounters a number of famous writers, artists, and critics of that time, develops a crush on a French model, and, of course, reevaluates his engagement and the serious choices he’s about to make with his life and career.
These scenes in the 1920s feature a number of well-known actors and other recognizable faces having a blast playing those famous figures from the Parisian salons of that decade, a pleasure that becomes immediately infectious as Adrien Brody gets into character as Salvador Dali or Kathy Bates steals scenes as Gertrude Stein. Gil getting career advice from Ernest Hemingway or trying to mediate between Zelda and F. Scott could seem precious or sentimental in the wrong hands, but Allen makes the dialogue fit these larger-than-life characters in ways that blend our modern perceptions of them with enough realism to maintain the illusion that Gil’s trips back in time are, within the confines of the film, true to life.
Aside from Allen just having fun with famous figures from one of the west’s most fruitful artistic eras since the Renaissance, he also gradually takes the viewers into a serious meditation on the different lenses through which we view our present and the past, especially a past we only know through historical accounts. The past into which Gil travels is inevitably better than the present; perhaps they were all a figment of his imagination, but regardless, they appear as that time period does in its contemporary literature, while shielding Gil from the personal suffering that might come in his own time where he has established, meaningful relationships. Allen nearly writes himself into a corner with this gilt-edged look at the past, but his resolution, while a little quick, is also clever and uncontrived, a spoiler worth preserving at the same time.
Rachel McAdams is shrill and two-dimensional as Gil’s fiancee, and Kurt Fuller, goofily funny as the socially awkward coroner on Psych, is wasted as her snobby father. I’m not even sure who played the mother but she’s such an awful caricature it’s not even worth looking it up. The joy in this movie is in the nocturnal sequences, where Wilson shines – never quite developing the Zuckerman-esque level of annoying that Allen himself achieved for me in Annie Hall. It’s good enough that I feel like I have erred in failing to give the director a second chance sooner, so I’ll end with a question: If I didn’t like Annie Hall but loved Midnight in Paris, which Woody Allen movie should I watch next?
Try Purple Rose of Cairo. It’s also a light, fun homage to film. Jeff Daniels is great in it.
Crimes and Misdemeanors is by far Woody Allen’s best work. Not similar to Annie Hall, and miles better than the insufferable Manhattan. My vote for best screenplay ever written. Midnight in Paris irritated me, just because it was so… Woody Allen, for lack of a better term. But I would highly recommend Crimes and Misdemeanors. One of the most underrated movies ever.
I think “Match Play” is highly under-seen and deserves a look.
If you loved “Midnight in Paris,” you might want to consider “The Purple Rose of Cairo,” another Allen film about a bygone era with the same sort of supernatural element. I seem to recall reading a lot of comparisons to “Cairo” when “Midnight in Paris” came out. It’s also another of the relatively few Allen movies in which the director does not prominently figure, if like Ned Flanders you think you like the films of Woody Allen but for that nervous fella who’s always in ’em.
I really enjoyed Vicky Christina Barcelona: seems Woody reinvigorated himself by getting out of New York, and it would be a natural next choice if you liked Midnight In Paris. I do love Annie Hall, but agree that much of his earlier work is too focused on autobiographical, overly-neurotic protagonists.
Also liked his early madcap comedies such as Bananas! at the time, but have not viewed them in years, so not entirely sure how they hold up.
There are a number of excellent Woody Allen films that Woody didn’t act in, and of those I’d recommend The Purple Rose of Cairo, Bullets Over Broadway, and Vicky Cristina Barcelona. You might also like some of the sillier pre-Annie Hall stuff like Love and Death and Sleeper. My all-time favorite is probably Zelig, a mockumentary in which Woody stars, but his character is nothing like Alvy Singer.
All that said: wow, I love Annie Hall.
I’d go with ‘Zelig’ or ‘Love and Death.’ ‘Zelig’ has Woody playing other characters and you’ll appreciate the psychological/intellectual nature of its concerns while still being funny. ‘Love and Death’ is a spoof on Russian literature and film so you may like that, but it’s a bit more ‘Woody’. If you want to skip Woody completely, try Sweet and Lowdown.
Purple Rose of Cairo is certainly the way to go for more magical realism. I’d recommend Match Point (Woody doesn’t appear in the film), which is a striking contrast from his usual oeuvre. For more magical realism, PLEASE see Beasts of the Southern Wild, which is a remarkable film.
For another Woody movie without Woody I would recommend Match Point. I watched it before reading any reviews and would recommend the same to you if possible.
I enjoyed Midnight in Paris too. I’ve seen a handful of some of his other recent films and they were all meh. I would recommend not checking out any others as you’ve seen the best he has to offer, IMO.
If Annie Hall does not appeal to you, then It would not be worth your while to watch older Woody Allen movies.I highly recommend Crimes and Misdemeanors ,Cairo is indeed a period piece and Vicky Christina is an excellent movie, but having read your blogs and chats for quite a while I am sticking to my guns on this one. Hopefully you will agree. It was nominated for three academy awards and was critically acclaimed when it came out.Let us all know what you pick.
Keith:
Most of Allen’s film have something to offer, however I’m fond of the music from Manhattan and Gordon Willis’ cinematography, and Diana Weist in Hannah & Her Sisters, Each are flawless.
Give Radio Days, Hannah and Her Sisters or (as another commenter suggested) Purple Rose of Cairo a shot. All are excellent. Maybe Sweet and Lowdown for Sean Penn’s great performance.
I love Annie Hall so you may want to discount my opinion entirely. That said, Hannah and Her Sisters is my second favorite. Woody is Alvy Singer but he plays a much smaller part in the movie. Radio Days and the previously mentioned Purple Rose of Cairo are also great.
You may also want to check out his standup, transcribed here: http://www.ibras.dk/comedy/allen.htm The “Lost Generation” bit contains the seeds for Midnight in Paris more than 45 years ago.
I’m certainly not a Woody Allen buff either, but I did enjoy both Match Point and Vicky Cristina Barcelona.
Manhattan.
I love Manhattan, but I’m not sure if that’ll be your bag. I’d recommend Hannah and Her Sisters, Manhattan Murder Mystery, Stardust Memories, and Crimes and Misdemeanors.
I really dug Midnight in Paris too. But this — “Before this weekend I had actually seen just one Woody Allen film” — is unacceptable! Everybody else is recommending the standard titles, but let me say this Klaw: I say you go outside the box. Allen’s Stardust Memories is a controversial film among fans: generally I think people dislike it, but for what it’s worth I think it’s fantastic, and Allen himself calls it one of his best works. I really think you should check it out. I cannot recommend it enough, especially because it doesn’t really have the typical Allen-like character that you dislike.
If you want a great Woody Allen movie that is nothing like Annie Hall, I recommend Match Point which is more like Hitchcock than Allen. if you ant something more along the lines of Midnight in Paris, I would suggest Bullets Over Broadway where John Cusak has the Woody Allen role. I would also suggest Purple Rose of Cairo which has fantastical elements and no Woody Allen and Radio Days which is a period comedy piece and also Woody free.
My favorite Allen movie (and one that has some similarities to Midnight in Paris) is Sweet and Lowdown. Really good acting from Sean Penn and Samantha Morton, funny and bittersweet.
I would highly recommend Match Point. It’s very different than any of Woody Allen’s other stuff and is a great, suspenseful film. I would also consider Vicki Cristina Barcelona.
Seems like you’ve got a lot of good suggestions so far. I’d definitely go with The Purple Rose of Cairo first because of the magical realism element that you liked about Midnight in Paris. I’d then try one of Woody’s dramas, and my pick would be Crimes and Misdemeanors. Woody’s in it, but as part of an ensemble cast with Mia Farrow, Alan Alda and Martin Landau. Landau is especially terrific in it. It’s my personal favorite of Woody’s.
I also love Manhattan, but I can’t really see you going for it if you disliked Annie Hall and can’t recommend it.
Match Point, Vicky Cristina Barcelona and Bullets over Broadway are other suggestions I see here that I would support.
Anything Else.
It’s like anything else.
Manhattan is a great movie – some of the same notes as Annie Hall yes, but the cinematography is so brilliant that it elevates it. Another thing – and this is important I think – Woody is not celebrating the Woody character in his movies. Annie Hall, Manhattan – yes he is the protagonist, but he loses the girl – and clearly deserves to. He has a lot of irritating neuroses and cannot commit himself – but that is sort of the point, and the movie is about the failure.
That said – look into Bananas, Everything You Wanted to Know About Sex – some of his pure comedies, which are very very funny in a straightforward way. Match Point excellent too.
I prefer Woody’s really absurd stuff, like “Take the Money and Run” or “Sleeper”. “Banana’s” is still one of my faves. I’ve never actually seen “Annie Hall”
It really depends on what qualities you’re wanting to see repeated.
For thematic similarities, there’s “The Purple Rose of Cairo,” “Deconstructing Harry,” “Stardust Memories,” “Zelig,” and “Bullets over Broadway,” and I would say their quality goes in that order. All except “Zelig” are much more cynical than “Midnight in Paris,” but they’re still essentially examinations about the artistic process, the artist’s relationship to the world and the art, etc. “The Purple Rose of Cairo” and “Bullets over Broadway” also do not include Allen as an actor, which may be easier for you to stomach since you hated his persona in “Annie Hall,” and that is always his stage and screen persona. “The Purple Rose of Cairo” and “Deconstructing Harry” (the former more so) also employ some of the magic realism you enjoyed in “Midnight in Paris.”
While it’s far less related to art and the artistic process, technically not a Woody Allen film, and it’s very shallow compared to his later work, Herbert Ross’s adaptation of Allen’s play “Play It Again, Sam” also explores some of the same territory and uses the lead character’s imaginations in a way not too dissimilar from the sort of magic realism we see in. However, it is a strict comedy and I think it’s really only enjoyable if you find Woody Allen funny.
You didn’t comment at all about the sort of “cityscape” element to the film, to which some people have an attraction (an attraction that doesn’t make a lot of sense to me, but they have it). He’s obviously used this idea, using the film as sort of a postcard of the city, a fair amount: “Manhattan” (which most people think is his finest work, though I think it’s among his worst and he apparently agrees with me) and “Manhattan Murder Mystery” both do this with New York, “Vicky Cristina Barcelona” does with Barcelona, and “Everyone Says I Love You” did this with Paris before “Midnight in Paris” did. I really think “Vicky Cristina Barcelona” is the only really good one of those, and he is not in it.
If you want more of the nostalgia, there are (in order of my view of their quality) “The Purple Rose of Cairo,” “Radio Days,” “Manhattan Murder Mystery,” and “Sweet and Lowdown.” Only “The Purple Rose of Cairo” has anything like the nuance and depth in its view of the past that “Midnight in Paris” has, but the rest have at least a nostalgic element to them.
When people don’t know Woody Allen, I always say there are actually a few you should see: “Annie Hall,” which represents him at his peak, being intelligent and yet accessible; “Sleeper,” which represents his pure comedy, something that he has long since stopped doing, removed from real depth or technical skill but also from any sense of pretension; “The Purple Rose of Cairo,” which represents the more mature storytelling and much improved technique of his later career; and “Match Point,” which is by far the best of his complete departures from comedy and which shows how expert his technique has really become. At that point, you can have a pretty full view of his career even without knowing anything about his other 38 films (all of which I have seen–disturbingly enough), and it can tell you what to watch or avoid from the rest of his oeuvre.
I’d vote for Sweet and Lowdown. Just delightful, with wonderful performances by Sean Penn and Samantha Morton, great music, and a sincerity you don’t see too often. It loves and cares about its characters and the time period it’s writing about more than just about any movie I can think of. (Strange description, maybe, but that’s what comes to mind now that I think about it.)
I would opt for Smalltime Crooks. The movie has a similar tone to Midnight in Paris, wherein the protagonist gets everything they want, when in reality, they realize that may not be what they wanted all along. It’s not on the same caliber as Midnight in Paris, but it was funny with the co-stars being permitted to shine (especially Tracy Ullman).
Have to echo the Purple Rose of Cairo recs, especially if you liked Midnight In Paris. Without giving too much away, there are similar supernatural elements, and the story line is fundamentally sweet and enjoyable.
If you want Woody-heavy flicks that are very different than Annie Hall, I love his old slapstick movies. Zelig especially, also Bananas.
“Bullets Over Broadway” if you’re trying to avoid the Allen persona: However, “Crimes and Misdemeanors” is my favorite Woody Allen movie…plus you get to see the BEST performance of Alan Alda’s career, hands-down (I know, it’s a low bar to begin with).
Maybe you loving this movie will convince you to give 127 Hours a watch. Just a thought Keith.
The remarkable trifecta of Zelig, Broadway Danny Rose, and Purple Rose of Cairo were made in a 3 year period. I would highly recommend all 3. Deconstructing Harry is very funny. There is a scene with Kirstie Ally which makes me cry laughing every time. Great cast.
Liam/Keith, don’t tell me you shy away from 127 Hours because of James Franco? Movies are director’s vehicles. Danny Boyle directed the fabulous Trainspotting, Sunshine, and 28 Days Later; you should be excited to watch any movie of his without even glancing at the cast.
I’ll just throw it out because no one else has said it, but my wife and I loved “Everyone Says I Love You”. It’s kind of wacky watching Woody doing a musical. With that said, my 5 favorites have been ( in order)
Annie Hall (feel it’s nearly a perfect movie)
Crimes & Misdemeanors (his best non-comedy, and Landau is outstanding)
Hannah & Her Sisters (best in terms of ensemble acting, especially Caine, Farrow & Wiest)
Sleeper ( probably his best early “slapstick” though the cello in a marching band scene from “Take the Money” is my Dave)
Bullets Over Broadway ( I guess I just love that 1920s era)