Dark Horse Movie Review

In the first scene of Dark Horse, the camera opens on a dancing bride and groom surrounded by their wedding guests, also enjoying the festivities. Will this be a film about the beginning of a romantic marriage? No! This is a Todd Solondz film so the camera soon settles upon the two people at the wedding who aren’t dancing. They also happen to be mid-30s depressives, each one a terrible case of arrested development and on the brink of complete breakdowns.

25 Years Ago Movie Review: Woody Allen's Radio Days

This review was originally posted on 20 May 2010. I am re-posting in recognition of its 25th anniversary this month. This year I would like to add one review per month as part of my "25 Years Ago This Month Series" in which Radio Days was featured this month. All the other options from January 1987 are not worth my time.

Whereas watching The Purple Rose of Cairo 12 years on allowed me to bring a new perspective that allowed my appreciation to deepen, the intervening years have not been quite as generous with Woody Allen’s Radio Days from 1987.

Each film is a manifestation of Allen’s deep appreciation for two very different media: film and radio. While the earlier film focuses on the ability of cinema to transport individuals to a fantasy world (or as in the reversal that his film does so brilliantly – to move a fictional character from screen to reality) and has a single central character, the latter has the radio itself as the central figure including the ways it carries information to people, affects individuals in different ways (including the performers), and brings people together emotionally and socially.

Having been born in 1935, Allen would have spent much of his childhood listening to radio programs, either actively or passively. That makes this his most autobiographical film. He doesn’t appear in the film, but provides a voiceover narration for the events depicted and the connections between them. There’s no single main character, but the film centers on the narrator’s family with himself as a child (a young Seth Green) figuring in the occasional scene.

Classic Movie Review: Woody Allen's A Midsummer Night's Sex Comedy

“The course of true love never did run smooth.” – Lysander in William Shakespeare’s A Midsummer Night’s Dream.

And nor does this film.

Woody Allen’s 1982 film A Midsummer Night’s Sex Comedy is one of the lesser films in the Allen oeuvre. It carries through most of the major themese that have captured his attention throughout his career: marriage; love; infidelity; the inexplicability of attraction and lust. But this time they are manifested in a rather unique approach.

The usual pantheon of Allen characters is represented, to be sure. Allen himself plays Andrew, another version of the nebbish; Mia Farrow (making her first of 11 appearances in a Woody Allen film) is Ariel, the highly desirable woman; Mary Steenburgen is Adrian, the potentially jilted wife; Tony Roberts is Max, the lecherous best friend; Julie Haggerty is Dulcy, the nymphet; and the great José Ferrer is Leopold (such a bold name for a bold part), the pragmatic intellectual. But what’s unique is the setting of a country house in the late 20th century and the adhesion to metaphysics and mystical happenings.

Classic Movie Review: The Purple Rose of Cairo

It came time for me to have a second look at a couple of films from Woody Allen’s undervalued 1980s period. It turns out I myself had undervalued The Purple Rose of Cairo, a sweet little love letter to the magic of cinema. It moves along at a quick pace and clocks in at a crisp 75 minutes.

I remembered it as a forgettable little yarn about an unhappily married woman who meets with the ultimate fantasy of a cinephile – a character from one of her favorite films steps off the screen and falls in love with her. The truth is there is a so much more going on than I was capable of recognizing when I first watched it some twelve years ago.

Mia Farrow plays Cecilia, housewife to the unemployed, gambling and abusive Monk (a quintessential Danny Aiello performance) and part time diner waitress in Depression era New Jersey. Cecilia, like so many others in that time, turned to the movie house for escapist entertainment to forget the terrible troubles of the world for 90 minutes or so. And in those days you could spend all day in the cinema on only one ticket.

After one particularly rough encounter with Monk, she spends all afternoon watching The Purple Rose of Cairo (the film within a film shares its title) until one of the characters, Tom Baxter (Jeff Daniels) notices her and comes down off the screen to meet her and spend some time in the real world. In one motion, Allen blends the world of reality with the fantasy we all secretly want to be our reality.

Daniels actually plays a dual role as both Baxter and the actor Gil Shepherd, who plays Baxter in The Purple Rose of Cairo. Confused yet? At the time Daniels was cast he was not a well-known movie star, but he had the looks and the charisma to pull off playing the cocky actor and the humor and light touch to play the naïve Baxter. Seen today, he comes across as an odd casting choice because his career never really took off to bring him the kind of movie star success that this film suggests.

Allen’s writing, which earned him his fifth Original Screenplay Oscar nomination, is in fine form. It’s got some biting Hollywood satire including this brilliant exchange between Cecilia and Gil:

Gil (speaking about Baxter): He’s my character. I created him.
Cecilia: Didn’t the man who wrote the movie do that?
Gil: Yes, technically. But I made him live. I fleshed him out.

There’s also the sheer absurdity of the Hollywood moguls debating how to handle the fact that one of their film’s characters has walked off the screen. They accept the story as true without verification and discuss the matter in terms of potential lawsuits should he do anything wrong.

But the film goes much deeper than the clever quips as it tries to get at the heart of why we return time and again to the movies for enjoyment. For one thing there’s the security and the comfort – with rare exceptions we generally know what to expect given the genre and a brief plot summary. Hence another wonderful line delivered by a woman at the cinema where the other characters have been milling about on screen waiting for Baxter’s return: “I want what happened in the movie last week to happen this week; otherwise, what's life all about anyway?” This line, with its existential quandary, perhaps best sums up the movie. If we can’t be certain of what’s coming in a movie of all places, what does that say about my existence?

The film has some fascinating comments to make about the nature of fiction writing and character development. Surely there was something at work in Allen’s mind with regard to the common assertion by writers of fiction that their characters come alive within the work, that at a certain point they cease to be the product of the writer’s mind (at least consciously) and begin acting on their own. Allen just drives the point home literally.

SPOILER ALERT: Allen is most interested in the lure of Hollywood and its effect on people. First Cecilia falls in love with Ted Baxter: “I just met a wonderful new man. He's fictional but you can't have everything.” She is drawn in by his charm, his childlike naiveté and fascination with the real world. Later she meets Gil Shepherd, the actor. He’s everything Baxter is, only more, because he’s real. He’s the unattainable. Sure, we can have Cary Grant or Tom Cruise whenever we want by popping in a DVD. But you’re only getting a small part of them – the characters they create. With Gil, Cecilia can have it all. She falls for his charms as he promises to whisk her away to Hollywood luxury. And she wants it, as most of us would deep down.

But alas, it’s not to be. Gil used her to get Baxter back on the screen before skipping town, leaving Cecilia stuck with her crummy life and the vicarious pleasures of the movie house. It may seem a sad ending, but at the end of the day we all have to realize that the movies aren’t real. Real life is here in front of us, no matter how much time we spend in the dark, looking at flickering images on the silver screen.