ALDRICH DIRECTORS, 4 EDItION Career: Worked for RKO studios, 1941-1944: under contract to 1952 Abbott and Costello Meet Captain Kidd (Lamont)(1st asst-d): Enterprise studios, 1945-1948: TV director, from 1952; founded Limelight( Chaplin)(Ist asst-d): The Trio: Rubinstein Associates and Aldrich Company, 1955: signed contract for Heifetz and Piatigorsky(Million Dollar Trio)(Dassin)(1st Columbia Pictures, then fired after refusing to"soften" script of The asst-d); The Steel Trap(Stone)(pr su Garment Jungle, after five-year period working abroad, returned to 1957 The Ride Back(pr) Hollywood, 1962; after The Dirty Dozen, established Aldrich Stu- 1969 Whatever Happened to Aunt Alice?(pr) dios, 1967, but forced to sell, 1973; elected president of the Directors Guild, 1975:" Aldrich Company"reorganised, 1976. Awards: Si ver Prize, Venice Festival, for The Big Knife, 1955: Silver Bear Publications Award for Best Direction. Berlin Festival. for Autumn Leaves. 1956 Italian Critics Award, Venice Festival, for Attack, 1956. Died: In Los By ALDRICH: articles- Angeles, of kidney failure, 5 December 1983 Interview with George Fenin, in Film Culture(New York), July/ August 1956 Films as director: Interviews with Francois Truffaut, in Cahiers du Cinema(Paris) November 1956 and April 1958 1953 The Big Leaguer High Price of Independence, in Films and Filming(London), 954 World for Ransom(+ co-pr): Apache: Vera Cruz June 1958 955 Kiss Me Deadly(+ pr): The Big Knife(+ pr) Learning from My Mistakes, in Films and Filming (London), 1956 Autumn Leaves; Attack!(+ pr) June 1960 1957 The Garment Jungle(un-credited 1959 The Angry Hills; Ten Seconds to Hell(+co-sc Hollywood. Still an Empty Tomb, in Cinema(Beverly Hills), 961 The last sunset May/June 1963. 1962 Sodoma e Gomorra(Sodom and Gomorrah): Whatever Hap What Ever Happened to American Movies?, in Sight and Sound (London), Winter 1963/64 pened to Baby Jane?(+pr) 1963 Four for Texas(+ co-pr, co-sc) nterview with Joel Greenburg, in Sight and Sound (London), win ter1968/69 964 Hush... Hush, Sweet Charlotte(+ pr) 966 Flight of the Phoenix(+ pr) Why I Bought My Own Studio, in Action(Los Angeles), January/ 1967 The Dirty Dozen February 19 Impressions of Russia, in Action(Los Angeles), July/August 1971 1968 The Legend of Lylah Clare(+ pr); The Killing of Sister George" "Dialogue, 'with Bernardo Bertolucci, in Action (Los Angeles), (+pr) 969 Too Late the Hero(+ pr, co-sc) 1971 The Grissom Gang(+ pr) Up to Date with Robert Aldrich, interview with Harry Ringel, 1973 Emperor of the North(The Emperor of the North pole Aldrich Interview, with Pierre Sauvage. in Movie(London). 974 The Longest Yard (The Mean Machine) Winter 1976/77 1975 Hustle (+ co-pr) Dialogue on Film: Robert Aldrich, in American Film(Washing 1977 Twilights Last Gleaming; The Choirboys ton, D. C ) November 1978 1979 The Frisco Kid 1981 All the Marbles( California Dolls On ALDRICH: books- Micha, Rene, Robert Aldrich, Brussels, 1957 Other Films Higham, Charles, The Celluloid Muse: Hollywood Directors Speak 945 The southerner Silver. Alain. and Elizabeth Ward. robert Aldrich. A Guide to 1946 The Story of G. I ellman)(Ist asst-d); Pardon My Past References and Resources, Boston, 1979 The Strange Love of Martha Ivers Salizzato Claver Robert Aldrich. Florence. 1983 (Milestone)(lst asst-d) Piton. Jean-Pierre. Robert Aldrich. Paris. 198 1947 The Private Affairs of Bel Ami(Lewin)(1st asst-d): Body and Arnold, Edwin T, and Eugene L. Miller, The Films and Career of Rossen)(lst asst-d) Robert aldrich. Knoxville. Tennessee. 1986 1948 Arch of Triumph(Milestone)(lst asst-d): So This Is New York Maheo. Michel. robert aldrich. Paris. 1987 Fleischer)(Ist asst-d); No Minor Vices (Milestone Silver, Alain, and James Ursini, What Ever Happened to Robert Aldrich? New York. 1995 1949 Force of Evil( Polonsky)(1st asst-d): The Red Pony(Mile- stone)(Ist asst-d): A Kiss for Corliss(Wallace)(lst asst-d On ALDRICH: articles- 950 The White Tower (Tetzlaff(lst asst-d); Teresa(zinnemann) pre-production work) Rivette, Jacques, On Revolution, in Cahiers du Cinema(Paris), 1951 The Prowler(Losey)(1st asst-d): M( Losey)(1st asst-d): Of no.54.1955 Men and Music(Reis)(1st asst-d ); New Mexico(Reis) Jarvie, lan, "" Hysteria and Authoritarianism in the Films of robert (lst asst-d Aldrich, in Film Culture(New York), Summer 1961
ALDRICH DIRECTORS, 4th EDITION 6 Career: Worked for RKO studios, 1941–1944; under contract to Enterprise studios, 1945–1948; TV director, from 1952; founded ‘‘Associates and Aldrich Company,’’ 1955; signed contract for Columbia Pictures, then fired after refusing to ‘‘soften’’ script of The Garment Jungle; after five–year period working abroad, returned to Hollywood, 1962; after The Dirty Dozen, established Aldrich Studios, 1967, but forced to sell, 1973; elected president of the Directors Guild, 1975; ‘‘Aldrich Company’’ reorganised, 1976. Awards: Silver Prize, Venice Festival, for The Big Knife, 1955; Silver Bear Award for Best Direction, Berlin Festival, for Autumn Leaves, 1956; Italian Critics Award, Venice Festival, for Attack!, 1956. Died: In Los Angeles, of kidney failure, 5 December 1983. Films as Director: 1953 The Big Leaguer 1954 World for Ransom (+ co-pr); Apache; Vera Cruz 1955 Kiss Me Deadly (+ pr); The Big Knife (+ pr) 1956 Autumn Leaves; Attack! (+ pr) 1957 The Garment Jungle (un-credited) 1959 The Angry Hills; Ten Seconds to Hell (+ co-sc) 1961 The Last Sunset 1962 Sodoma e Gomorra (Sodom and Gomorrah); Whatever Happened to Baby Jane? (+ pr) 1963 Four for Texas (+ co-pr, co-sc) 1964 Hush . . . Hush, Sweet Charlotte (+ pr) 1966 Flight of the Phoenix (+ pr) 1967 The Dirty Dozen 1968 The Legend of Lylah Clare (+ pr); The Killing of Sister George (+ pr) 1969 Too Late the Hero (+ pr, co-sc) 1971 The Grissom Gang (+ pr) 1972 Ulzana’s Raid 1973 Emperor of the North (The Emperor of the North Pole) 1974 The Longest Yard (The Mean Machine) 1975 Hustle (+ co-pr) 1977 Twilight’s Last Gleaming; The Choirboys 1979 The Frisco Kid 1981 All the Marbles (California Dolls) Other Films: 1945 The Southerner (Renoir) (1st asst-d) 1946 The Story of G.I. Joe (Wellman) (1st asst-d); Pardon My Past (Fenton) (1st asst-d); The Strange Love of Martha Ivers (Milestone) (1st asst-d) 1947 The Private Affairs of Bel Ami (Lewin) (1st asst-d); Body and Soul (Rossen) (1st asst-d) 1948 Arch of Triumph (Milestone) (1st asst-d); So This Is New York (Fleischer) (1st asst-d); No Minor Vices (Milestone) (1st asst-d) 1949 Force of Evil (Polonsky) (1st asst-d); The Red Pony (Milestone) (1st asst-d); A Kiss for Corliss (Wallace) (1st asst-d) 1950 The White Tower (Tetzlaff) (1st asst-d); Teresa (Zinnemann) (pre-production work) 1951 The Prowler (Losey) (1st asst-d); M (Losey) (1st asst-d); Of Men and Music (Reis) (1st asst-d); New Mexico (Reis) (1st asst-d) 1952 Abbott and Costello Meet Captain Kidd (Lamont) (1st asst-d); Limelight (Chaplin) (1st asst-d); The Trio: Rubinstein, Heifetz and Piatigorsky (Million Dollar Trio) (Dassin) (1st asst-d); The Steel Trap (Stone) (pr supervision) 1957 The Ride Back (pr) 1969 Whatever Happened to Aunt Alice? (pr) Publications By ALDRICH: articles— Interview with George Fenin, in Film Culture (New York), July/ August 1956. Interviews with François Truffaut, in Cahiers du Cinéma (Paris), November 1956 and April 1958. ‘‘High Price of Independence,’’ in Films and Filming (London), June 1958. ‘‘Learning from My Mistakes,’’ in Films and Filming (London), June 1960. ‘‘Hollywood . . . Still an Empty Tomb,’’ in Cinema (Beverly Hills), May/June 1963. ‘‘What Ever Happened to American Movies?,’’ in Sight and Sound (London), Winter 1963/64. Interview with Joel Greenburg, in Sight and Sound (London), Winter 1968/69. ‘‘Why I Bought My Own Studio,’’ in Action (Los Angeles), January/ February 1969. ‘‘Impressions of Russia,’’ in Action (Los Angeles), July/August 1971. ‘‘Dialogue,’’ with Bernardo Bertolucci, in Action (Los Angeles), March/April 1974. ‘‘Up to Date with Robert Aldrich,’’ interview with Harry Ringel, in Sight and Sound (London), Summer 1974. ‘‘Aldrich Interview,’’ with Pierre Sauvage, in Movie (London), Winter 1976/77. ‘‘Dialogue on Film: Robert Aldrich,’’ in American Film (Washington, D.C.), November 1978. On ALDRICH: books— Micha, Rene, Robert Aldrich, Brussels, 1957. Higham, Charles, The Celluloid Muse: Hollywood Directors Speak, London, 1969. Silver, Alain, and Elizabeth Ward, Robert Aldrich: A Guide to References and Resources, Boston, 1979. Salizzato, Claver, Robert Aldrich, Florence, 1983. Piton, Jean-Pierre, Robert Aldrich, Paris, 1985. Arnold, Edwin T., and Eugene L. Miller, The Films and Career of Robert Aldrich, Knoxville, Tennessee, 1986. Maheo, Michel, Robert Aldrich, Paris, 1987. Silver, Alain, and James Ursini, What Ever Happened to Robert Aldrich? New York, 1995. On ALDRICH: articles— Rivette, Jacques, ‘‘On Revolution,’’ in Cahiers du Cinéma (Paris), no. 54, 1955. Jarvie, Ian, ‘‘Hysteria and Authoritarianism in the Films of Robert Aldrich,’’ in Film Culture (New York), Summer 1961
DIRECTORS, 4 EDITION ALDRICH Cameron, lan, and Mark Shivas, ""Interview and Filmography, unequivocably dubbed"the masterpiece of film noir, has received Movie(London), April 1963 anything like the attention it deserves on this side of the Atlantic; yet Bitsch, Charles, and Bertrand Tavernier, ""La Fonction de producer, the film is quite indicative of the bitter ironies, bizarre stylistics, and and Claude chabrol. ''Directed B Cahiers du Cinema scathing nihilism characteristic of most of Aldrich,s work (Paris), December/January 1964/65 In bringing Mickey Spillane's neo-fascist hero Mike Hammer to Silke James, editor, "Robert Aldrich, in Dialogue on Film(Wash the screen, Kiss Me Deadly plays havoc with the conventions of the ton, D.C), no. 2, 1972. hardboiled detective, turning the existential avenger into a narcissistic Silver, Alain, " Mr. Film Noir Stays at the Table, in Film Comment materialist who exploits those around him for the benefit of his plush New York), Spring 1972. lifestyle. In an outrageous alteration of the novels plot, Hammer Beaupre, Lee, Bob Aldrich: Candid Maverick, in Variety(New becomes a modern neanderthal whose individualism is revealed as York), 27 June 1973. insanity when it causes him to botch a case involving a box of pure Ringel, Harry, ""Robert Aldrich: The Director as Phoenix, in Take nuclear energy and thus the fate of the world. The result is a final shot One(Montreal), September 1974 of a mushroom cloud rising from a California beachhouse, consuming Silver, Alain,"Kiss Me Deadly: Evidence of a Style, in Film both Hammer and the bad guys. Only at this extreme and this distance Comment(New York), March/April 1975 in time has Aldrich's acute sense of irony impressed itself upon Combs, Richard, Worlds Apart: Aldrich since The Dirty Dozen, ""in a liberal critical establishment whose repugnance to the surfaces of Sight and Sound (London), Spring 1976 his films has usually served as an excuse for ignoring their savage Duval, B, ' Aldrich le rebelle, in Image et Son(Paris), May 1976. multi-layered critiques of Hollywood genres and American ideology Legrand, Gerard, "Robert Aldrich et I incompletude du nihilism, in The extremity of Aldrich's reinterpretations of the Western in Positif(Paris), June 1976 Ulzana's Raid, of the war movie in Attack/, of the cop film in The Gazano, R. and M. Cusso. "L 'Homme d' Aldrich. in cinema Choirboys, and of the womens melodrama in Autumn Leaves betray ( Paris), June 1980. a cynicism so bitter that it could only arise from a liberal sensibility McCarthy, T, obituary of Aldrich in Variety(New York ), 7 Decem- utterly disillusioned by an age in which morality has become a cruel ber 1983 joke. In fact, the shattering of illusions is central to Aldrich's work, Salizzato, Claver, "Robert Aldrich"(special issue), Castoro Cinema and it is a powerfully self-destructive process, given the sweetness of Firenze), no 106, 1983 the illusions and the anger of his iconoclasm In Whatever Happened Aldrich Sectionof Cinema(Paris), February 1984 to Baby Jane?, a gothic horror film whose terms are explicitly the Robert Aldrich, in Film Dope (London), March 1985, and hideous realities hidden beneath the sugar-coating of the entertain- ment industry, Aldrich virtually defines the genre of camp, offerin Lang, Robert, "Looking for the 'Great Whatzit: Kiss Me Deadly and derisive laughter as the only alternative to an unbearably absurd Film Noir, in Cinema Journal( Champaign, Illinois), Spring 1988. cosmos. This sense of black comedy(which Aldrich shares with,and Stefancic, M.Jr, ""Robert Aldrich, 'in Ekran(Ljubljana, Slovenia) leveloped at the same time as, Hollywood contemporary Stanley vol.14,no.5-6,1989 Kubrick) has frequently been responsible for the volatile relationship Lyons, D,""Dances with Aldrich, in Film Comment(New York), his films have had with popular audiences. Given the context of alife- vol. 27, March-April 1991 and-death prison football game in The Longest Yard, Aldrich was able Jopkiewicz, T,""Malownicz Apokalipsa, lluyjon, July-Decem- to enlist the audience in the hero's bitter laughter in the face of ber 1991 Charbol, D."B. A, ou une dialectique de la survie, in Positif black humor toward the scandalous chicanery of the marginally psychotic cops in The Choirboys, he angered almost everybody, not Danel, Isabelle, "Le sale gosse d'Hollywood, in Telerama(Paris), the least of whom was the novel's author, Joseph Wambaugh November 9. 1994 Turned in an introspective direction, Aldrich,'s acid sensibility Grant, J, "Bob le copieux, " in Cinematheque(Paris), Autumn 1994 resulted in an intensely discomforting, stylistically alienated version Ranger, J -F,"La derniere leur d' Aldrich, in Cahiers du Cinema of Clifford Odets's Hollywood-hating The Big knife and the madly (Paris), January 1995 ambitious The Legend of Lylah Clare, an 8-1/2 cum Vertigo far too Kahn, Olivier, and others, "Hommage a Robert Aldrich, "in Positif complex by any Hollywood standard. When turned outward toward ( Paris), no 415, September 1995 the world at large, that same sensibility was responsible for a down- beat, disheartening masterpiece like the much-maligned Hustle, a film that succeeds better than almost any other in summing up the moral displacement and emotional anguish of the whole decade of the 1970s. Despite a commercially respectable career both within the studio At his most skillful, Aldrich could juggle ideologically volatile system and as an independent producer-director, Robert Aldrich issues so well that his most popular film, The Dirty Dozen, made remains an ill-appreciated, if not entirely bothersome presence for during the politically turbulent period of the Vietnam War, played most American critics. Andrew Sarris did praise Aldrich in 1968 as equally well to hawks and doves. Its story of death row prisoners one of the most strikingly personal directors of the past two exploited by the military bureaucracy into participation in a suicide decades"'; yet, for the most part, it has remained to the French and the raid, where they are to attack a chateau, slaughtering both German English to attempt to unravel the defiant quirkiness of Aldrich's officers and civilians, seemed explicitly antiwar in its equation of career. Only the otherworldly Kiss Me Deadly, which Paul Schrader heroism and criminality and its critique of the body-count mentality
DIRECTORS, 4 ALDRICH th EDITION 7 Cameron, Ian, and Mark Shivas, ‘‘Interview and Filmography,’’ in Movie (London), April 1963. Bitsch, Charles, and Bertrand Tavernier, ‘‘La Fonction de Producer,’’ and Claude Chabrol, ‘‘Directed By:,’’ in Cahiers du Cinéma (Paris), December/January 1964/65. Silke, James, editor, ‘‘Robert Aldrich,’’ in Dialogue on Film (Washington, D.C.), no. 2, 1972. Silver, Alain, ‘‘Mr. Film Noir Stays at the Table,’’ in Film Comment (New York), Spring 1972. Beaupre, Lee, ‘‘Bob Aldrich: Candid Maverick,’’ in Variety (New York), 27 June 1973. Ringel, Harry, ‘‘Robert Aldrich: The Director as Phoenix,’’ in Take One (Montreal), September 1974. Silver, Alain, ‘‘Kiss Me Deadly: Evidence of a Style,’’ in Film Comment (New York), March/April 1975. Combs, Richard, ‘‘Worlds Apart: Aldrich since The Dirty Dozen,’’ in Sight and Sound (London), Spring 1976. Duval, B., ‘‘Aldrich le rebelle,’’ in Image et Son (Paris), May 1976. Legrand, Gerard, ‘‘Robert Aldrich et l’incompletude du nihilism,’’ in Positif (Paris), June 1976. Gazano, R., and M. Cusso, ‘‘L’Homme d’Aldrich,’’ in Cinéma (Paris), June 1980. McCarthy, T., obituary of Aldrich in Variety (New York), 7 December 1983. Salizzato, Claver, ‘‘Robert Aldrich’’ (special issue), Castoro Cinema (Firenze), no. 106, 1983. ‘‘Aldrich Section’’ of Cinéma (Paris), February 1984. ‘‘Robert Aldrich,’’ in Film Dope (London), March 1985, and March 1988. Lang, Robert, ‘‘Looking for the ‘Great Whatzit’: Kiss Me Deadly and Film Noir,’’ in Cinema Journal (Champaign, Illinois), Spring 1988. Stefancic, M. Jr., ‘‘Robert Aldrich,’’ in Ekran (Ljubljana, Slovenia), vol. 14, no. 5–6, 1989. Lyons, D., ‘‘Dances with Aldrich,’’ in Film Comment (New York), vol. 27, March-April 1991. Jopkiewicz, T., ‘‘Malownicz Apokalipsa,’’ Iluzjon, July-December 1991. Charbol, D. ‘‘B. A., ou une dialectique de la survie,’’ in Positif (Paris), June 1994. Danel, Isabelle, ‘‘Le sale gosse d’Hollywood,’’ in Télérama (Paris), November 9, 1994. Grant, J., ‘‘Bob le copieux,’’ in Cinémathèque (Paris), Autumn 1994. Ranger, J.-F., ‘‘La dernière lueur d’Aldrich,’’ in Cahiers du Cinéma (Paris), January 1995. Kahn, Olivier, and others, ‘‘Hommage à Robert Aldrich,’’ in Positif (Paris), no. 415, September 1995. *** Despite a commercially respectable career both within the studio system and as an independent producer-director, Robert Aldrich remains an ill-appreciated, if not entirely bothersome presence for most American critics. Andrew Sarris did praise Aldrich in 1968 as ‘‘one of the most strikingly personal directors of the past two decades’’; yet, for the most part, it has remained to the French and the English to attempt to unravel the defiant quirkiness of Aldrich’s career. Only the otherworldly Kiss Me Deadly, which Paul Schrader unequivocably dubbed ‘‘the masterpiece of film noir,’’ has received anything like the attention it deserves on this side of the Atlantic; yet the film is quite indicative of the bitter ironies, bizarre stylistics, and scathing nihilism characteristic of most of Aldrich’s work. In bringing Mickey Spillane’s neo-fascist hero Mike Hammer to the screen, Kiss Me Deadly plays havoc with the conventions of the hardboiled detective, turning the existential avenger into a narcissistic materialist who exploits those around him for the benefit of his plush lifestyle. In an outrageous alteration of the novel’s plot, Hammer becomes a modern neanderthal whose individualism is revealed as insanity when it causes him to botch a case involving a box of pure nuclear energy and thus the fate of the world. The result is a final shot of a mushroom cloud rising from a California beachhouse, consuming both Hammer and the bad guys. Only at this extreme and this distance in time has Aldrich’s acute sense of irony impressed itself upon a liberal critical establishment whose repugnance to the surfaces of his films has usually served as an excuse for ignoring their savage, multi-layered critiques of Hollywood genres and American ideology. The extremity of Aldrich’s reinterpretations of the Western in Ulzana’s Raid, of the war movie in Attack!, of the cop film in The Choirboys, and of the women’s melodrama in Autumn Leaves betrays a cynicism so bitter that it could only arise from a liberal sensibility utterly disillusioned by an age in which morality has become a cruel joke. In fact, the shattering of illusions is central to Aldrich’s work, and it is a powerfully self-destructive process, given the sweetness of the illusions and the anger of his iconoclasm. In Whatever Happened to Baby Jane?, a gothic horror film whose terms are explicitly the hideous realities hidden beneath the sugar-coating of the entertainment industry, Aldrich virtually defines the genre of camp, offering derisive laughter as the only alternative to an unbearably absurd cosmos. This sense of black comedy (which Aldrich shares with, and developed at the same time as, Hollywood contemporary Stanley Kubrick) has frequently been responsible for the volatile relationship his films have had with popular audiences. Given the context of a lifeand-death prison football game in The Longest Yard, Aldrich was able to enlist the audience in the hero’s bitter laughter in the face of a triumphant totalitarian authority. But when he adopted the same black humor toward the scandalous chicanery of the marginally psychotic cops in The Choirboys, he angered almost everybody, not the least of whom was the novel’s author, Joseph Wambaugh. Turned in an introspective direction, Aldrich’s acid sensibility resulted in an intensely discomforting, stylistically alienated version of Clifford Odets’s Hollywood-hating The Big Knife and the madly ambitious The Legend of Lylah Clare, an 8–1/2 cum Vertigo far too complex by any Hollywood standard. When turned outward toward the world at large, that same sensibility was responsible for a downbeat, disheartening masterpiece like the much-maligned Hustle, a film that succeeds better than almost any other in summing up the moral displacement and emotional anguish of the whole decade of the 1970s. At his most skillful, Aldrich could juggle ideologically volatile issues so well that his most popular film, The Dirty Dozen, made during the politically turbulent period of the Vietnam War, played equally well to hawks and doves. Its story of death row prisoners exploited by the military bureaucracy into participation in a suicide raid, where they are to attack a chateau, slaughtering both German officers and civilians, seemed explicitly antiwar in its equation of heroism and criminality and its critique of the body-count mentality
ALLEN DIRECTORS, 4 EDItION of a morally corrupt system. Yet, The Dirty Dozen still managed to Film Critics Circle Award, and National Society of Film Critics emerge as a gung-ho war movie in the best Hollywood tradition.The Award, all 1977, all for Annie Hall; Britis Academy Award and New nultiple contradictions of the films stance are nowhere clearer than York Film Critics Award, 1979, for Manhattan; Academy Award for its climactic scene, where Aldrich has black athlete Jim Brown re- Best Original Screenplay, New York Film Critics Award, and Los create one of his famous touchdown runs in order to set off an Angeles Film Critics Award, all 1986, all for Hannah and Her Sisters. underground holocaust explicitly parallelled to Auschwitz Agent: Rollins and Joffe, 130 w. 57th Street, New York, NY 10009 In a far less popular film, the revisionist western Ulzana's Raid, U.S.A. Address: 930 Fifth Avenue, New York, NY 10021, U.S.A Aldrich does confront the horrors of Vietnam with a nearly intolerable accuracy via the properly bloody metaphor of a cavalry company using West Point tactics to fight a band of Apache guerilla warriors. Films as Director, Scriptwriter, and Actor The film relentlessly refuses to diminish the brutality of the red man even as it demonstrates the poverty of the white man's Christian 1969 Take the Money and Run idealism. The result is perhaps the first western ever to cast Americas 1971 Bananas(co-sc) doctrine of Manifest Destiny in explicitly colonial terms 1972 Everything You Always Wanted to Know about Sex but Were More than any other mainstream director, Aldrich insisted on Afraid to Ask presenting the radical contradictions of American ideology. If we 1973 Sleeper dopt a stance not nearly as cynical as his own in most of his films, we 1975 Love and death might observe that his capacity to do so has frequently resulted in 1977 Annie Hall (co-sc) sizable profits. Yet it is also important to remember that, while 1978 Interiors(d, sc only) Stanley Kubrick (whose 1950s films bear striking stylistic and 979 Manhattan(co-sc) thematic similarities to those of Aldrich) found it necessary to retreat 1980 Stardust Memories to England, reducing his output to two or three films a decade, Aldrich 1982 A Midsummer Night's Sex Comedy chose to fight it out in Hollywood, where his capacity for money- making allowed him the space to vent his own personal anger at the 1984 Broadway Danny rose compromises we all must make 1985 The Purple rose of Cairo(d, sc only) -Ed lowry 1987 Radio Days(role as narrator) 1988 September (d, sc only); Another Woman(d, sc only) 989 Crimes and Misdemeanors: Oedipus Wrecks'episode in New york stories allen. Wood 1990 Alice (d, sc only) Nationality: American Born: Allen Stewart Konigsberg in Brook- 1993 Manhattan Murder Myislter, and wives 992 Shadows and Fog; Husbands and Wive lyn, New York, I December 1935. Education: Attended Midwood 1994 Bullets over Broadway(d, co-sc only); Dont Drink the High School, Brooklyn; New York University, 1953: City College Water(for TV (now City College of the City University of New York), 1953 1995 Mighty Aphrodite Family: Married 1)Harlene Rosen, 1954(divorced): 2) Louise 1996 Everyone Says I Love You Lasser, 1966(divorced); 3)Soon-Yi Previn, 1997; one daughter 997 Deconstructing Harry Bechet Dumaine; also maintained a thirteen-year relationship with 1998 Celebrity actress Mia Farrow, 1979-92; one son, Satchel, and two adopted 1999 Sweet and Lowdown children, one son, Moses, and one daughter, Dylan). Career: Began 2000 Small Time crooks riting jokes for columnists and television celebrities while still in high school; joined staff of National Broadcasting Company, 1952, writing for such television comedy stars as Sid Caesar, Herb Shriner, Other Films Buddy Hackett, Art Carney, Carol Channing, and Jack Paar; also wrote for The Tonight Show and The Garry Moore Show, began 1965 What's New, Pussycat?(sc, role performing as stand-up comedian on television and in nightclubs 1966 What's up, Tiger Lily?(co-SC, assoc pr, role as host/narrator) 61; hired by producer Charles Feldman to write What's New, Dont Drink the Water(play basis) Pussycat 1964; production of his play Don't Drink the Water 1967 Casino Royale(Huston and others)(role) opened on Broadway, 1966; wrote and starred in Broadway run of 1972 Play It again, Sam( Ross)(sc, role Play It Again, Sam, 1969-70(filmed 1972): began collaboration with 1976 The Front(Ritt)(role) writer Marshall Brickman, 1976: wrote play The Floating Light Bulb, 1987 King Lear( Godard)(role) produced at Lincoln Center, New York, 1981. Awards: Sylvania 1991 Scenes from a Mall (Mazursky)(role) ward, 1957, for script of The Sid Caesar Show, Academy Awards 1997 Liv Ullmann scener fra et liv(Hambro)(narrator); Cannesyles (Oscars)from the Academy of Motion Picture Arts and Sciences for 400 coups(Nadeau-for TV)(as himself); Just Shoot Me Best Director and Best Original Screenplay(co-recipient), New York (for TV)(role)
ALLEN DIRECTORS, 4th EDITION 8 of a morally corrupt system. Yet, The Dirty Dozen still managed to emerge as a gung-ho war movie in the best Hollywood tradition. The multiple contradictions of the film’s stance are nowhere clearer than in its climactic scene, where Aldrich has black athlete Jim Brown recreate one of his famous touchdown runs in order to set off an underground holocaust explicitly parallelled to Auschwitz. In a far less popular film, the revisionist western Ulzana’s Raid, Aldrich does confront the horrors of Vietnam with a nearly intolerable accuracy via the properly bloody metaphor of a cavalry company using West Point tactics to fight a band of Apache guerilla warriors. The film relentlessly refuses to diminish the brutality of the red man; even as it demonstrates the poverty of the white man’s Christian idealism. The result is perhaps the first western ever to cast America’s doctrine of Manifest Destiny in explicitly colonial terms. More than any other mainstream director, Aldrich insisted on presenting the radical contradictions of American ideology. If we adopt a stance not nearly as cynical as his own in most of his films, we might observe that his capacity to do so has frequently resulted in sizable profits. Yet it is also important to remember that, while Stanley Kubrick (whose 1950s films bear striking stylistic and thematic similarities to those of Aldrich) found it necessary to retreat to England, reducing his output to two or three films a decade, Aldrich chose to fight it out in Hollywood, where his capacity for moneymaking allowed him the space to vent his own personal anger at the compromises we all must make. —Ed Lowry ALLEN, Woody Nationality: American. Born: Allen Stewart Konigsberg in Brooklyn, New York, 1 December 1935. Education: Attended Midwood High School, Brooklyn; New York University, 1953; City College (now City College of the City University of New York), 1953. Family: Married 1) Harlene Rosen, 1954 (divorced); 2) Louise Lasser, 1966 (divorced); 3) Soon-Yi Previn, 1997; one daughter, Bechet Dumaine; also maintained a thirteen-year relationship with actress Mia Farrow, 1979–92; one son, Satchel, and two adopted children, one son, Moses, and one daughter, Dylan). Career: Began writing jokes for columnists and television celebrities while still in high school; joined staff of National Broadcasting Company, 1952, writing for such television comedy stars as Sid Caesar, Herb Shriner, Buddy Hackett, Art Carney, Carol Channing, and Jack Paar; also wrote for The Tonight Show and The Garry Moore Show; began performing as stand-up comedian on television and in nightclubs, 1961; hired by producer Charles Feldman to write What’s New, Pussycat?, 1964; production of his play Don’t Drink the Water opened on Broadway, 1966; wrote and starred in Broadway run of Play It Again, Sam, 1969–70 (filmed 1972); began collaboration with writer Marshall Brickman, 1976; wrote play The Floating Light Bulb, produced at Lincoln Center, New York, 1981. Awards: Sylvania Award, 1957, for script of The Sid Caesar Show; Academy Awards (Oscars) from the Academy of Motion Picture Arts and Sciences for Best Director and Best Original Screenplay (co-recipient), New York Film Critics Circle Award, and National Society of Film Critics Award, all 1977, all for Annie Hall; Britis Academy Award and New York Film Critics Award, 1979, for Manhattan; Academy Award for Best Original Screenplay, New York Film Critics Award, and Los Angeles Film Critics Award, all 1986, all for Hannah and Her Sisters. Agent: Rollins and Joffe, 130 W. 57th Street, New York, NY 10009, U.S.A. Address: 930 Fifth Avenue, New York, NY 10021, U.S.A. Films as Director, Scriptwriter, and Actor: 1969 Take the Money and Run 1971 Bananas (co-sc) 1972 Everything You Always Wanted to Know about Sex but Were Afraid to Ask 1973 Sleeper 1975 Love and Death 1977 Annie Hall (co-sc) 1978 Interiors (d, sc only) 1979 Manhattan (co-sc) 1980 Stardust Memories 1982 A Midsummer Night’s Sex Comedy 1983 Zelig 1984 Broadway Danny Rose 1985 The Purple Rose of Cairo (d, sc only) 1986 Hannah and Her Sisters 1987 Radio Days (role as narrator) 1988 September (d, sc only); Another Woman (d, sc only) 1989 Crimes and Misdemeanors; ‘‘Oedipus Wrecks’’ episode in New York Stories 1990 Alice (d, sc only) 1992 Shadows and Fog; Husbands and Wives 1993 Manhattan Murder Mystery 1994 Bullets over Broadway (d, co-sc only); Don’t Drink the Water (for TV) 1995 Mighty Aphrodite 1996 Everyone Says I Love You 1997 Deconstructing Harry 1998 Celebrity 1999 Sweet and Lowdown 2000 Small Time Crooks Other Films: 1965 What’s New, Pussycat? (sc, role) 1966 What’s up, Tiger Lily? (co-sc, assoc pr, role as host/narrator); Don’t Drink the Water (play basis) 1967 Casino Royale (Huston and others) (role) 1972 Play It Again, Sam (Ross) (sc, role) 1976 The Front (Ritt) (role) 1987 King Lear (Godard) (role) 1991 Scenes from a Mall (Mazursky) (role) 1997 Liv Ullmann scener fra et liv (Hambro) (narrator); Cannesyles 400 coups (Nadeau—for TV) (as himself); Just Shoot Me (for TV) (role)
DIRECTORS, 4 EDITION ALLEN K / Woody Allen on the set of Radio Days 1998 Waiting for Woody(as himself); The Imposters(role): Antz Four Films of woody Allen(Annie Hall, Interiors, Manhattan, (Darnell, Guterman)(role); Wild Man Blues(Kopple)(as Stardust Memories). New York, 1982 Hannah and Her Sisters. New York. 1987 2000 Picking up the Pieces(Arau)(role): Company Man(Askin, Three Films of Woody Allen(Zelig, Broadway Danny Rose, The McGrath)(role); Ljuset haller mig sallskap(Light Keeps Purple rose of Cairo), New York, 1987 Me Company)(Nykvist)(role) The Complete Prose of Woody Allen(contains Getting Even, Without Feathers, and Side Effects), New York, 1992 e Illustrated Woody Allen Reader, edited by Linda Sunshine, New Publications Woody Allen on Woody Allen: In Conversation with Stig bjorkman By aLlEn: books- By ALLEN: articles- Don't Drink the Water(play), 1967 Play It Again, Sam(play), 1969 Woody Allen Interview, with Robert Mundy and Stephen Mamber, Getting Even, New York, 1971 in Cinema(Beverly Hills), Winter 1972/73 Death: A Comedy in One Act and God: A Comedy in One Act The Art of Comedy: Woody Allen and Sleeper, interview with (plays), 1975 Trotsky, in Filmmakers Newsletter(Ward Hill, Massachusetts) Without Feathers. New York, 1975 Summer 1974 Side effects, New York, 1980 A Conversation with the Real Woody Allen(or Someone Just like The Floating Lightbulb(play), New York, 1982 Him), with K Kelley, in Rolling Stone(New York), I July 1976
DIRECTORS, 4 ALLEN th EDITION 9 Woody Allen on the set of Radio Days 1998 Waiting for Woody (as himself); The Imposters (role); Antz (Darnell, Guterman) (role); Wild Man Blues (Kopple) (as himself) 2000 Picking up the Pieces (Arau) (role); Company Man (Askin, McGrath) (role); Ljuset håller mig sällskap (Light Keeps Me Company) (Nykvist) (role) Publications By ALLEN: books— Don’t Drink the Water (play), 1967. Play It Again, Sam (play), 1969. Getting Even, New York, 1971. Death: A Comedy in One Act and God: A Comedy in One Act (plays), 1975. Without Feathers, New York, 1975. Side Effects, New York, 1980. The Floating Lightbulb (play), New York, 1982. Four Films of Woody Allen (Annie Hall, Interiors, Manhattan, Stardust Memories), New York, 1982. Hannah and Her Sisters, New York, 1987. Three Films of Woody Allen (Zelig, Broadway Danny Rose, The Purple Rose of Cairo), New York, 1987. The Complete Prose of Woody Allen (contains Getting Even, Without Feathers, and Side Effects), New York, 1992. The Illustrated Woody Allen Reader, edited by Linda Sunshine, New York, 1993. Woody Allen on Woody Allen: In Conversation with Stig Bjorkman, London, 1994. By ALLEN: articles— ‘‘Woody Allen Interview,’’ with Robert Mundy and Stephen Mamber, in Cinema (Beverly Hills), Winter 1972/73. ‘‘The Art of Comedy: Woody Allen and Sleeper,’’ interview with J. Trotsky, in Filmmakers Newsletter (Ward Hill, Massachusetts), Summer 1974. ‘‘A Conversation with the Real Woody Allen (or Someone Just like Him),’’ with K. Kelley, in Rolling Stone (New York), 1 July 1976
ALLEN DIRECTORS, 4 EDItION Woody Allen Is Feeling Better, interview with B. Drew, in Bendazzi, Giannalberto, The Films of Woody Allen, Florence, 1987 American Film(Washington, D. C ), May 1977 de Navacelle, Thierry, Woody Allen on Location, London, 1987 omedy Directors: Interviews with Woody Allen, with M. Karman Pogel, Nancy, Woody Allen, Boston 1987. in Millimeter(New York), October 1977. Sinyard, Neil, The Films of Woody Allen, London. 1987 Scenes from a Mind, interview with I. Halberstadt, in Take One Altman, Mark A, Woody Allen Encyclopedia: Almost Everything (Montreal), November 1978. You Wanted to Know about the Wooster but Were Afraid to Ask Vous avez dit woody?, interview with Robert Benayoun, in Pioneer books. 1990 Positif(Paris), May 1984 McCann, Graham, Woody Allen: New Yorker, New York, 1990. The Kobal Tapes: Woody Allen, interview with John Kobal, in Hirsch, Foster, Love, Sex, Death, and the Meaning of Life: The Films Films and Filming(London), December 1985 of Woody Allen, revised and updated, Limelight, 1991 'Fears of a Clown, ' an interview with Tom Shales, and"Killing Lax, Eric. Woody Allen: A Biography, London, 1991 ce, an interview with Roger Ebert, in Time Out(London), Weimann, Frank, Everything You Always Wanted to Know about 1 November 198 Woody Allen, New York, 1991 Interview with Silvio Bizio, in Empire(London), August 1990 Wernblad, Annette, Brooklyn Is Not Expanding: Woody Allen's *The Heart Wants What It wants. an interview with Walter Comic Universe, Rutherford, New Jersey, 199 Isaacson, in Time, 31 August 1992 Carroll, Tim, Woody and His Women, London, 1993 Unhappily Ever After, an interview with J. Adler and others, in Girgus, Sam B, The Films of Woody Allen, Cambridge, 1993. ewsweek, 31 August 1992. Groteke Kristi Woody and Mia: The Nanny's Tale London. 1994. Interview with S. Bjorkman, in Cahiers du Cinema(Paris), vol. Spignesi, Stephen, The Woody Allen Companion, London, 1994 87,1992 Blake, Richard A, Woody Allen: Profane and Sacred, Lanham, 1995. Interview with A. DeCurtis, in Rolling Stone, 16 September 1993 Hamill, Brian, Woody Allen at Work: The Photographs of briar Rationality and the Fear of Death, in The Metaphysics of Death, Hamill. New York. 1995 edited by John Martin Fischer, 1993 Lee, Sander H, Woody Allens Angst: Philosophical Commentaries Interview with Studs terkel. in Four Decades with Studs Terkel on His Serious Films. Jefferson. 1996. audiocassette collection of interviews with various figures(rec- orded between 1955 and 1989), HighBridge Company, 1993. Curry, Renee R, ed Perspectives on Woody Allen, New York, 1996 "Woody Allen in Exile''(also cited as""So, You're the great Fox, Julian, Woody: Movies from Manhattan, New York, 1997 Woody Allen?"A Man on the Street Asked Him), an interview Nichols, Mary P, Reconstructing Woody: Art, Love, and Life in the with Bill Zehme, in Esquire(New York ), October 1994 Films of Woody Allen, Lanham, Maryland, 1998 Biting the bullets interview with geoff Andrew in Time Out Baxter, John, Woody Allen: A Biography, New York, 1999 (London), 5 April 1995. Meade, Marion, The Unruly Life of Woody Allen: A Biography Play It Again, Man, interview with Linton Chiswick, in Time Out Boston. 2000 (London), 13 March 1996 Bullets over Broadway Danny Rose of Cairo: The Continuous On ALLEN: articles- Career of woody Allen, an interview with Tomm Carroll, in DGA (LoS Angeles), May- June 1996 Woody, Woody Everywhere, in Time(New York), 14 April 1967 Interview with Olivier De Bruyn, in Positif( Paris), February 1999 Woody Allen Issue, of Cinema( Beverly Hills), Winter 1972/73 Wasserman, Harry, Woody Allen: Stumbling through the Looking By ALLEN: television interviews- Glass, in Velvet Light Trap(Madison), winter 1972/73 Maltin, Leonard, Take Woody Allen-Please!, in Film Comment Interview with Morley Safer, broadcast on the 60 Minutes television (New York), March-April 1974. rogram, Columbia Broadcasting System, 13 December 1987. Remond, A,"Annie Hall, in Avant-Scene du Cinema(Paris), 15 Interview with Steve Croft. broadcast on the 60 Minutes television December 1977 program, Columbia Broadcasting System, 22 November 1992 Yacowar, Maurice, Forms of Coherence in the Woody Allen Interview with Melvyn Bragg, broadcast on The South Bank Show Comedies, in Wide Angle(Athens, Ohio), no 2, 1979. London, 16 January 1994 Canby, Vincent, ""Film View: Notes on Woody Allen and American Woody! an interview with Bob Costas, broadcast in two segments Comedy, in New York Times, 13 May 1979 on the Dateline NBC television program, National Broadcasting Dempsey, M, ""The Autobiography of Woody Allen, " in Film Company, 29 and 30 November 1994 Comment(New York), May/June 1979 Teitelbaum, D,""Producing Woody: An Interview with Charles H On allen: books- Joffe, in Cinema Papers(Melbourne), April/May 1980. Combs, Richard, Chameleon Days: Refiections on Non-Being, in Lax, Eric, On Being Fummmy: Woody Allen and Comedy, New York, 1975 Monthly Film Bulletin(London), November 1983 Yacowar, Maurice, Loser Take All: The Comic Art of Woody Allen Lahr. John in Automatic Vaudeville: Essays on Star Turns. New York. 1984 Jacobs, Diane,.. But We Need the eggs: The Magic of woody Allen, Liebman, R.L., Rabbis or Rakes, Schlemiels or Supermen? Jewish Identity in Brode, Douglas, Woody Allen: His Films and Career, London, 1985 Literature/Film Quarterly(Salisbury, Maryland), July 1984. Benayoun, Robert, Woody Allen: Beyond Words, London, 1987; Caryn James, Auteur! Auteur! The Creative Mind of Woody The Films of Woody Allen, New York, 1987. Allen, in New York Times Magazine, 19 January 1986 10
ALLEN DIRECTORS, 4th EDITION 10 ‘‘Woody Allen Is Feeling Better,’’ interview with B. Drew, in American Film (Washington, D.C.), May 1977. ‘‘Comedy Directors: Interviews with Woody Allen,’’ with M. Karman, in Millimeter (New York), October 1977. ‘‘Scenes from a Mind,’’ interview with I. Halberstadt, in Take One (Montreal), November 1978. ‘‘Vous avez dit Woody?,’’ interview with Robert Benayoun, in Positif (Paris), May 1984. ‘‘The Kobal Tapes: Woody Allen,’’ interview with John Kobal, in Films and Filming (London), December 1985. ‘‘Fears of a Clown,’’ an interview with Tom Shales, and ‘‘Killing Joke,’’ an interview with Roger Ebert, in Time Out (London), 1 November 1989. Interview with Silvio Bizio, in Empire (London), August 1990. ‘‘The Heart Wants What It Wants,’’ an interview with Walter Isaacson, in Time, 31 August 1992. ‘‘Unhappily Ever After,’’ an interview with J. Adler and others, in Newsweek, 31 August 1992. Interview with S. Bjorkman, in Cahiers du Cinema (Paris), vol. 87, 1992. Interview with A. DeCurtis, in Rolling Stone, 16 September 1993. ‘‘Rationality and the Fear of Death,’’ in The Metaphysics of Death, edited by John Martin Fischer, 1993. Interview with Studs Terkel, in Four Decades with Studs Terkel, audiocassette collection of interviews with various figures (recorded between 1955 and 1989), HighBridge Company, 1993. ‘‘Woody Allen in Exile’’ (also cited as ‘‘‘So, You’re the Great Woody Allen?’ A Man on the Street Asked Him’’), an interview with Bill Zehme, in Esquire (New York), October 1994. ‘‘Biting the Bullets,’’ interview with Geoff Andrew, in Time Out (London), 5 April 1995. ‘‘Play It Again, Man,’’ interview with Linton Chiswick, in Time Out (London), 13 March 1996. ‘‘Bullets over Broadway Danny Rose of Cairo: The Continuous Career of Woody Allen,’’ an interview with Tomm Carroll, in DGA (Los Angeles), May-June 1996. Interview with Olivier De Bruyn, in Positif (Paris), February 1999. By ALLEN: television interviews— Interview with Morley Safer, broadcast on the 60 Minutes television program, Columbia Broadcasting System, 13 December 1987. Interview with Steve Croft, broadcast on the 60 Minutes television program, Columbia Broadcasting System, 22 November 1992. Interview with Melvyn Bragg, broadcast on The South Bank Show, London, 16 January 1994. ‘‘Woody!,’’ an interview with Bob Costas, broadcast in two segments on the Dateline NBC television program, National Broadcasting Company, 29 and 30 November 1994. On ALLEN: books— Lax, Eric, On Being Funny: Woody Allen and Comedy, New York, 1975. Yacowar, Maurice, Loser Take All: The Comic Art of Woody Allen, Oxford, 1979; expanded edition, 1991. Jacobs, Diane, . . . But We Need the Eggs: The Magic of Woody Allen, New York, 1982. Brode, Douglas, Woody Allen: His Films and Career, London, 1985. Benayoun, Robert, Woody Allen: Beyond Words, London, 1987; as The Films of Woody Allen, New York, 1987. Bendazzi, Giannalberto, The Films of Woody Allen, Florence, 1987. de Navacelle, Thierry, Woody Allen on Location, London, 1987. Pogel, Nancy, Woody Allen, Boston 1987. Sinyard, Neil, The Films of Woody Allen, London, 1987. Altman, Mark A., Woody Allen Encyclopedia: Almost Everything You Wanted to Know about the Woodster but Were Afraid to Ask, Pioneer Books, 1990. McCann, Graham, Woody Allen: New Yorker, New York, 1990. Hirsch, Foster, Love, Sex, Death, and the Meaning of Life: The Films of Woody Allen, revised and updated, Limelight, 1991. Lax, Eric, Woody Allen: A Biography, London, 1991. Weimann, Frank, Everything You Always Wanted to Know about Woody Allen, New York, 1991. Wernblad, Annette, Brooklyn Is Not Expanding: Woody Allen’s Comic Universe, Rutherford, New Jersey, 1992. Carroll, Tim, Woody and His Women, London, 1993. Girgus, Sam B., The Films of Woody Allen, Cambridge, 1993. Groteke, Kristi, Woody and Mia: The Nanny’s Tale, London, 1994. Spignesi, Stephen, The Woody Allen Companion, London, 1994. Blake, Richard A., Woody Allen: Profane and Sacred, Lanham, 1995. Hamill, Brian, Woody Allen at Work: The Photographs of Brian Hamill, New York, 1995. Lee, Sander H., Woody Allen’s Angst: Philosophical Commentaries on His Serious Films, Jefferson, 1996. Curry, Renee R., ed. Perspectives on Woody Allen, New York, 1996. Fox, Julian, Woody: Movies from Manhattan, New York, 1997. Nichols, Mary P., Reconstructing Woody: Art, Love, and Life in the Films of Woody Allen, Lanham, Maryland, 1998. Baxter, John, Woody Allen: A Biography, New York, 1999. Meade, Marion, The Unruly Life of Woody Allen: A Biography, Boston, 2000. On ALLEN: articles— ‘‘Woody, Woody Everywhere,’’ in Time (New York), 14 April 1967. ‘‘Woody Allen Issue,’’ of Cinema (Beverly Hills), Winter 1972/73. Wasserman, Harry, ‘‘Woody Allen: Stumbling through the Looking Glass,’’ in Velvet Light Trap (Madison), Winter 1972/73. Maltin, Leonard, ‘‘Take Woody Allen—Please!,’’ in Film Comment (New York), March-April 1974. Remond, A., ‘‘Annie Hall,’’ in Avant-Scène du Cinéma (Paris), 15 December 1977. Yacowar, Maurice, ‘‘Forms of Coherence in the Woody Allen Comedies,’’ in Wide Angle (Athens, Ohio), no. 2, 1979. Canby, Vincent, ‘‘Film View: Notes on Woody Allen and American Comedy,’’ in New York Times, 13 May 1979. Dempsey, M., ‘‘The Autobiography of Woody Allen,’’ in Film Comment (New York), May/June 1979. Teitelbaum, D., ‘‘Producing Woody: An Interview with Charles H. Joffe,’’ in Cinema Papers (Melbourne), April/May 1980. Combs, Richard, ‘‘Chameleon Days: Reflections on Non-Being,’’ in Monthly Film Bulletin (London), November 1983. Lahr, John, in Automatic Vaudeville: Essays on Star Turns, New York, 1984. Liebman, R.L., ‘‘Rabbis or Rakes, Schlemiels or Supermen? Jewish Identity in Charles Chaplin, Jerry Lewis and Woody Allen,’’ in Literature/Film Quarterly (Salisbury, Maryland), July 1984. Caryn James, ‘‘Auteur! Auteur! The Creative Mind of Woody Allen,’’ in New York Times Magazine, 19 January 1986