Woody allen woody allen r mpaa in DVDs & Videos

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Woody Allen finished his first decade of filmmaking, the 1970s, with one of his greatest and most deliberately artistic films, the love song to his home city MANHATTAN. Allen plays Isaac Davis, another one of his thinly veiled self-portraits, who finds himself suffering from a mid-life crisis. Unhappy in his career as a variety show comedy writer and newly divorced from a woman who has since come out as a lesbian, Isaac waffles between two relationships: that with emotionally honest and open, but far too young, Tracy (Mariel Hemingway in an Academy Award nominated performance) and with pseudo-intellectual, neurotic Mary (Diane Keaton). Allen uses these two women to contrast the naiveté and lack of pretension of youth with the growing cynicism of middle age. Although the acting and writing is some of the sharpest of Allen's filmmaking career, what is truly memorable and endearing about MANHATTAN is its romantic view of New York. Whereas the character relationships in the film are largely dysfunctional and fueled by a vision of perfection, by contrast the city itself is envisioned by Allen as an object of perfection. In order to create aesthetically pleasing images of the city, Allen and his longtime cinematographer Gordon Willis decided to shoot the film in black and white and in the 2.35:1 widescreen ratio, the first time that Allen had used either format. The images are backed by the songs of quintessential New York composer George Gershwin, setting a tone of romanticism and grandeur that underlies Isaac's (and Allen's) inherent dissatisfaction with the mundane aspects of his life. The magnificence of the city of New York is the backdrop to the search for a similar splendor in human relationships in MANHATTAN.

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Bette Midler and Woody Allen star in director Paul Mazursky's comedy as a professional Los Angeles couple--Deborah (Midler) is the author of a best-selling self-help book about marriage and has been wed to successful lawyer Nick (Allen) for 16 years. They live a high-pressure professional life, complete with matching Saabs, two kids, a house in the hills, beepers, cell phones, and a constant barrage of client phone calls. To celebrate their anniversary, they decide to embark on a spending spree at the Beverly Center mall. But while there, each makes a startling revelation that rocks their marriage. Nick, following advice from his wife's book, kicks things off by announcing he's been having an affair. Deborah, staggered by the news, rebounds by requesting a divorce. The spoiled couple reconciles--until the author admits that she's been unfaithful herself. As Nick and Deborah wade their way through the mall, dodging a particularly annoying mime (clown Bill Irwin in a hilarious role), mariachi bands, and Christmas-carolling rappers, they are forced to realize the mistakes they've made along the way--all the while juggling the pros and cons of their marriage, dividing assets, and shooting off rapid rounds of compliments and insults. Midler and Allen make a terrific and suitably neurotic pair in Mazursky's hilarious satire of an outlandish Los Angles marriage.

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Woody Allen's star-studded CELEBRITY skewers America's fascination with fame and glamour. Kenneth Branagh stars as Lee Simon, a travel writer who also interviews celebrities when he's not working on his novel and screenplay--or at least talking about writing them. As he hangs out more and more with supermodels and actresses, living the so-called good life, he ends his 16-year marriage to Robin (the marvelous Judy Davis). The split nearly sends Robin off the deep end until she meets Joe Gardella (Joe Mantegna), a television producer who introduces her to a whole new world. Allen shoots the film in black-and-white as if to take some of the gleam off the lives of these celebrities, many of whom are famous for just being famous. When Robin starts working for Joe, she is responsible for overseeing the talent--the kind of people who regularly appear on such shows as JERRY SPRINGER, looking for their moment in the spotlight. Even a television preacher has religious groupies who yearn for autographs. It is interesting to note that Allen wrote and directed CELEBRITY at a time when his own fame was reaching a crescendo because of his own personal problems, which became so much tabloid fodder; that is perhaps why he does not appear in the film, instead having Branagh speak the offbeat, cynical, funny lines that the Woodman himself usually delivers.

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The sci-fi satire SLEEPER is often hailed as the best of Woody Allen's early comedies, which relied mostly on slapstick and quick verbal asides, but still had more than their share of comic intelligence. SLEEPER tells the tale of Miles Monroe (Allen), who is accidentally cryogenically frozen following a minor operation. Released 200 years later, in 2173, Miles blunders his way through a bizarre future, featuring plenty of props and situations for Allen to mine for laughs. Eventually he meets vapid, hedonistic "poet" Luna Schlosser (Diane Keaton), with whom he eventually joins a rebel group opposed to the oppressive government. As in his earlier BANANAS and LOVE AND DEATH, Allen's character stumbles into a revolutionary plot, revealing the anti-authoritarianism that will appear again and again in his films. Loosely based on H.G. Wells' novel WHEN THE SLEEPER WAKES, the film features a strong parodic bent, particularly of the type of science fiction that was being written and filmed when it was made in 1973. Oppressive, faceless governments and the technological dominance over human life (altering even the most fundamental natural actions, such as sex) are the main tropes Allen skewers, as well as playing off the futuristic production design of films like A CLOCKWORK ORANGE and THX-1138. However, SLEEPER was still considered a strong work of science fiction, winning both the prestigious Hugo and Nebula Awards, which are given to the finest works in the genre.

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Jason Biggs and Christina Ricci star as a mismatched couple in Woody Allen's funny and well-made romantic comedy ANYTHING ELSE. Biggs plays Jerry Falk, a young comedy writer looking to make it big, while Ricci is Amanda, a self-absorbed free spirit whom men go wild for. They fall for each other instantly near the beginning of the film, then spend the rest of the movie trying to work out their very complex and complicated relationship, especially after her mother (Stockard Channing) moves in to their small apartment to live with them. With echoes of such classic Allen fare as ANNIE HALL, ANYTHING ELSE is a lighthearted look at young love in the Big Apple. Allen himself stars as David Dobel, an older comedy writer who mentors Jerry, often on walks through Central Park, but it seems that Dobel has a bit of an anger management problem. Once again, New York City is virtually a character unto itself, as Allen includes scenes in such Gotham places as the Village Vanguard jazz club, Isabella's restaurant, Roosevelt Island, Sheepshead Bay, and the Quad Cinema. Good supporting work is turned in by Danny DeVito as Falk's manager. The soundtrack includes songs by Billie Holiday, Ravi Shankar, Teddy Wilson, Lester Young, Moby, and Diana Krall, who appears in the film.

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This program includes four comedies by director Woody Allen: ANYTHING ELSE, THE CURSE OF THE JADE SCORPION, HOLLYWOOD ENDING, and SMALL TIME CROOKS. Please see individual titles for complete information.

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Gabe and Judy Roth (Woody Allen and Mia Farrow), a long-married couple, find their relationship starting to crumble when their best friends, Jack and Sally (Sydney Pollack and Judy Davis), announce that they are separating. Allen's use of a hand-held camera and jump-cuts adds immediacy to a brilliant display of ensemble acting. Pollack delivers an Oscar-worthy performance.

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David Shayne (John Cusack, in performance his character that of a young Woody Allen) is an idealistic young playwright whose life (and play) is about to be turned upside down as it heads toward Broadway. In order to gain financing for GOD OF OUR FATHERS, Shayne agrees to hire Olive Neal (a wonderfully high-squeaking Jennifer Tilly), the actress/girlfriend of Nick Valenti, a potential backer--who also happens to be a gangster. Unfortunately, the lass proves to be not only talent-free but ditzy to boot, a hindrance since she is supposed to play a psychiatrist. But Cheech, Olive's hoodlum bodyguard, proves to be more intuitive artistically than anyone would suspect, as his contributions improve not only Olive's performance but the quality of the flailing play as well. Meanwhile, Shayne must contend with an odd assortment of actors, including the neurotic Eden Brent, with her omnipresent, yapping dog; the pompous Warner Purcell, a corset-wearing overeater; and haughty leading lady Helen Sinclair (a fabulous Dianne Wiest), the aging, boozing diva with whom Shayne begins a romance. The laughs keep coming like rapid machine-gun fire in this riotous Woody Allen farce.

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Ostensibly based on the famous non-fiction bestseller by David Reuben, EVERYTHING YOU ALWAYS WANTED TO KNOW ABOUT SEX, BUT WERE AFRAID TO ASK is a series of comedic sketches from writer-director-actor Woody Allen. All seven segments of the film are posed as questions taken directly from Reuben's book, but act mostly as satirical springboards for Allen's comic genius. They take many forms, from a scenario on medieval adultery to a mad scientist-monster movie parody to a send-up of Italian sex films. Like many of Allen's early films, the humor in EVERYTHING...combines both quick-witted verbal quips (bearing the influence of Groucho Marx) and outright physical slapstick, but also shows Allen evolving as a filmmaker after his previous two films, BANANAS and TAKE THE MONEY AND RUN. Although it seems the logical extension of the scattered plotting of those earlier films, the segmentation of the film allowed Allen to experiment as a filmmaker: the clean and clinical appearance of the famous final sequence would be found again in his sci-fi satire SLEEPER, and the Italian parody (among other sketches) finds Allen imitating the aesthetic features of European masters (such as Antonioni) for the first time, something he would later do again and again. EVERYTHING...is also perhaps Allen's most thoroughly outrageous and subversive comedy, touching on a number of sensitive issues and mining laughs from touchy subject matter.

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In a mad rage, a kosher butcher named Tex (Woody Allen) murders his adulterous wife (Sharon Stone), chops her body into pieces, and buries them in a Mexican desert. In time, the dead woman's hand surfaces and an old blind woman trips over it. The fall remarkably restores her sight, leading the sleepy village townsfolk to believe the "Hand of the Madonna" has blessed them. With the encouragement of the opportunist mayor (Cheech Marin), down-on-their-luck folks from near and far come to the local church to get a glimpse of the wish-granting appendage. Meanwhile, the town's fallen priest (David Schwimmer) and his girlfriend --who happens to also be a prostitute--set forth on a quest to uncover the hand's true origins. Meanwhile, Tex attempts to steal the hand before the local sheriff Kiefer Sutherland) discovers his crime. From the director of LIKE WATER FOR CHOCOLATE and A WALK IN THE CLOUDS, Alfonso Arau, and featuring numerous celebrity cameos.

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MIGHTY APHRODITE is Woody Allen's stab at Greek comedy/tragedy, and it is wildly successful. Allen stars as Lenny Weinrib, a sportswriter married to ambitious Amanda Sloan (Helena Bonham Carter), who desperately wants her own art gallery in New York City and is willing to play the game to get it. Amanda convinces a reluctant Lenny to adopt, and they end up with beautiful Max. Lenny soon becomes obsessed with finding out who Max's biological parents are, and he is not exactly happy when he discovers that the mother is a high-pitched actress wanna-be who is also a minor porn star and hooker (Mira Sorvino, in an Oscar-winning performance). Lenny is determined to turn her life around--but at the same time is forced to examine his own marriage, which is failing. Allen intersperses New York City vignettes with hysterical scenes of a Greek chorus, led by F. Murray Abraham, chiming in about Lenny's life, comparing it to Greek drama, and breaking out into song-and-dance numbers. The scenes in which the two worlds meet--both in New York and in the Greek theater, are wonderfully witty and incisive. This charming light comedy from Woody Allen also features fine cameo appearances by Olympia Dukakis, David Ogden Stiers, Jack Warden, and Tony Sirico.

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A melange of sentimental musical vignettes about the various members of a madcap Manhattan family, who attempt by turns to find romance. Allen returns to his improvisational comic vein, reportedly springing the musical numbers on his nonmusical stars--only Barrymore was dubbed--shortly before production began.

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In a mad rage, a kosher butcher named Tex (Woody Allen) murders his adulterous wife (Sharon Stone), chops her body into pieces, and buries them in a Mexican desert. In time, the dead woman's hand surfaces and an old blind woman trips over it. The fall remarkably restores her sight, leading the sleepy village townsfolk to believe the "Hand of the Madonna" has blessed them. With the encouragement of the opportunist mayor (Cheech Marin), down-on-their-luck folks from near and far come to the local church to get a glimpse of the wish-granting appendage. Meanwhile, the town's fallen priest (David Schwimmer) and his girlfriend --who happens to also be a prostitute--set forth on a quest to uncover the hand's true origins. Meanwhile, Tex attempts to steal the hand before the local sheriff Kiefer Sutherland) discovers his crime. From the director of LIKE WATER FOR CHOCOLATE and A WALK IN THE CLOUDS, Alfonso Arau, and featuring numerous celebrity cameos.

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Upon returning in glory to the college from which he was expelled, sexually voracious and dyspeptic writer Harry Block can find no companions for his trip--except, that is, for a hooker he's hired. The trouble with Harry, as it were, is that he's alienated everyone in his life, from a string of wives and psychotherapists to all his living relatives, by rehashing their dirty little secrets in his fatuous, mean-spirited writing. A new height of self-loathing for introspective auteur Allen, who meditates upon a self-reflection theme based on Bergman's WILD STRAWBERRIES.

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For the first time in his long career, writer-director Woody Allen takes his cast and crew to London, and the European location breathes new life into the normally Manhattan-centric auteur. Jonathan Rhys Meyers stars as Chris Wilton, a former pro on the world tennis circuit who now has his eyes set on a very different kind of prize. After meeting Tom Hewett (Matthew Goode) at an exclusive club, he becomes friendly with Tom's extremely wealthy family, including his powerful businessman father, Alec (Brian Cox) and his attractive sister, Chloe (Emily Mortimer), who is desperate to get married and have children. The only problem is that Chris has fallen hard and fast for Tom's fiancée, the steaming-hot Nola (Scarlett Johansson), an unsuccessful American actress from Colorado who just might share Chris's lustful feelings--a romantic entanglement that could get in the way of his master plan. As he does with his New York-set films, Allen includes many London landmarks, including the Tate Modern, the Royal Opera House, the Queen's Club, St. James Park, the Millennium Bridge, the Palace Theatre, and the so-called Gherkin building, with its marvelous views of the city. He gets splendid performances from his actors, especially Rhys Meyers, who plays Chris with an intense glower, and Johansson, who is brilliant as the sexy, confident femme fatale. Allen is also inspired by Alfred Hitchcock, with several references and homages to the work of the great British director. The soundtrack features songs from LA TRAVIATA, RIGOLETTO, OTELLO, MACBETH, SALVATOR ROSA, IL TROVATORE, and other operas, primarily sung by Enrico Caruso.

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After the tremendous success of ANNIE HALL, Woody Allen took a huge risk and turned serious with INTERIORS, his Bergmanesque masterpiece--a dark, intense look at a family suffocating itself in thoughts of failure and death. Geraldine Page is extraordinary as Eve, a troubled woman who cannot face reality. When Eve's husband, Arthur (E.G. Marshall), announces that he's moving out of the house, their three daughters (Diane Keaton, Mary Beth Hurt, and Kristin Griffith) gather around the mother, attempting to help her through this crisis, but they have been raised with such coldness and aloofness that they are helpless. The first movie that Allen wrote and directed but did not appear in, INTERIORS is about closed spaces, both physical and psychological. Most of the scenes feature the intense cast standing by windows, looking out at the world that is going on outside without them. The opening shot of Renata (Keaton) reaching out to the window, spreading her fingers, is mesmerizing. Gordon Willis's photography washes the film in shades of black, white, and gray--the only color comes from Pearl (Maureen Stapleton), Arthur's new lover, who is vibrant and impulsive, everything Eve's family is not. The film also has no background music whatsoever; in fact, aside from one scene in which Pearl plays a jazz record, the only background sounds that can be heard are the quiet call of the ocean and the sisters' careful breathing. Slow-paced, bleak, and marvelously insightful, INTERIORS is a poignant film that should not be missed.

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For the first time in his long career, writer-director Woody Allen takes his cast and crew to London, and the European location breathes new life into the normally Manhattan-centric auteur. Jonathan Rhys Meyers stars as Chris Wilton, a former pro on the world tennis circuit who now has his eyes set on a very different kind of prize. After meeting Tom Hewett (Matthew Goode) at an exclusive club, he becomes friendly with Tom's extremely wealthy family, including his powerful businessman father, Alec (Brian Cox) and his attractive sister, Chloe (Emily Mortimer), who is desperate to get married and have children. The only problem is that Chris has fallen hard and fast for Tom's fiancée, the steaming-hot Nola (Scarlett Johansson), an unsuccessful American actress from Colorado who just might share Chris's lustful feelings--a romantic entanglement that could get in the way of his master plan. As he does with his New York-set films, Allen includes many London landmarks, including the Tate Modern, the Royal Opera House, the Queen's Club, St. James Park, the Millennium Bridge, the Palace Theatre, and the so-called Gherkin building, with its marvelous views of the city. He gets splendid performances from his actors, especially Rhys Meyers, who plays Chris with an intense glower, and Johansson, who is brilliant as the sexy, confident femme fatale. Allen is also inspired by Alfred Hitchcock, with several references and homages to the work of the great British director. The soundtrack features songs from LA TRAVIATA, RIGOLETTO, OTELLO, MACBETH, SALVATOR ROSA, IL TROVATORE, and other operas, primarily sung by Enrico Caruso.

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Woody Allen finished his first decade of filmmaking, the 1970s, with one of his greatest and most deliberately artistic films, the love song to his home city MANHATTAN. Allen plays Isaac Davis, another one of his thinly veiled self-portraits, who finds himself suffering from a mid-life crisis. Unhappy in his career as a variety show comedy writer and newly divorced from a woman who has since come out as a lesbian, Isaac waffles between two relationships: that with emotionally honest and open, but far too young, Tracy (Mariel Hemingway in an Academy Award nominated performance) and with pseudo-intellectual, neurotic Mary (Diane Keaton). Allen uses these two women to contrast the naiveté and lack of pretension of youth with the growing cynicism of middle age. Although the acting and writing is some of the sharpest of Allen's filmmaking career, what is truly memorable and endearing about MANHATTAN is its romantic view of New York. Whereas the character relationships in the film are largely dysfunctional and fueled by a vision of perfection, by contrast the city itself is envisioned by Allen as an object of perfection. In order to create aesthetically pleasing images of the city, Allen and his longtime cinematographer Gordon Willis decided to shoot the film in black and white and in the 2.35:1 widescreen ratio, the first time that Allen had used either format. The images are backed by the songs of quintessential New York composer George Gershwin, setting a tone of romanticism and grandeur that underlies Isaac's (and Allen's) inherent dissatisfaction with the mundane aspects of his life. The magnificence of the city of New York is the backdrop to the search for a similar splendor in human relationships in MANHATTAN.
 
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In a mad rage, a kosher butcher named Tex (Woody Allen) murders his adulterous wife (Sharon Stone), chops her body into pieces, and buries them in a Mexican desert. In time, the dead woman's hand surfaces and an old blind woman trips over it. The fall remarkably restores her sight, leading the sleepy village townsfolk to believe the "Hand of the Madonna" has blessed them. With the encouragement of the opportunist mayor (Cheech Marin), down-on-their-luck folks from near and far come to the local church to get a glimpse of the wish-granting appendage. Meanwhile, the town's fallen priest (David Schwimmer) and his girlfriend --who happens to also be a prostitute--set forth on a quest to uncover the hand's true origins. Meanwhile, Tex attempts to steal the hand before the local sheriff Kiefer Sutherland) discovers his crime. From the director of LIKE WATER FOR CHOCOLATE and A WALK IN THE CLOUDS, Alfonso Arau, and featuring numerous celebrity cameos.
 
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In a mad rage, a kosher butcher named Tex (Woody Allen) murders his adulterous wife (Sharon Stone), chops her body into pieces, and buries them in a Mexican desert. In time, the dead woman's hand surfaces and an old blind woman trips over it. The fall remarkably restores her sight, leading the sleepy village townsfolk to believe the "Hand of the Madonna" has blessed them. With the encouragement of the opportunist mayor (Cheech Marin), down-on-their-luck folks from near and far come to the local church to get a glimpse of the wish-granting appendage. Meanwhile, the town's fallen priest (David Schwimmer) and his girlfriend --who happens to also be a prostitute--set forth on a quest to uncover the hand's true origins. Meanwhile, Tex attempts to steal the hand before the local sheriff Kiefer Sutherland) discovers his crime. From the director of LIKE WATER FOR CHOCOLATE and A WALK IN THE CLOUDS, Alfonso Arau, and featuring numerous celebrity cameos.
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