《国际电影导演词典》书籍电子文献资料（英文版）International Dictionary of Films and Filmmakers Volume - 2（2-1 DIRECTORS）FOURTH EDITION

DIRECTORS, 4 EDITION AlLEN Allen Section, of Film Comment(New York), May- Romney, Jonathan,""Shelter from the Storm, in Sight and Sound Richard, "A Trajectory Built for Two, in Monthly Film Davis, Robert, "A Stand-up Guy Sits Down: Woody Allen,s Prose Bulletin(London), July 1986. in Short Story, Fall 1994 Morris, Christopher, " Woody Allens Comic Irony, in Literature/ McGrath, Douglas, ""If You Knew Woody like I Knew Woody, in New York. 17 October 1994 Yacowar, Maurice, ""Beyond Parody: Woody Allen in the eighties Deleyto, Celestino, The Narrator and the Narrative: The Evolution in Post Script (Jacksonville, Florida), winter 1987 of Woody Allen,'s Films, in Film Criticism(Meadville), winter Dunne, Michael, ""Stardust Memories, The Purple rose of Cairo, and 1994-1995 the Tradition of Metafiction, in Film Criticism(Meadville, Lahr, John, "The Imperfectionist, "in New Yorker, 9 December 1996 Pennsylvania), Fall 1987 Romney, Jonathan, ""Scuzzballs like Us, in Sight and Sound(Lon- Preussner, Armold W,Woody Allens The Purple Rose of Cairo don), April 1998 and the Genres of Comedy, and Paul Salmon and Helen Bragg, Woody Allen's Economy of Means: An Introduction to Hannah On AlLEN: fil and Her Sisters, in Literature/Film Quarterly(Salisbury, Mary land), vol. 16, no. 1, 1988. "Woody Allen, in Film Dope(London), March 1988 Woody Allen: An American Comedy(Harold Mantell), 1978. Downing, Crystal, ""Broadway Roses: Woody Allens Romantic Inheritance. and Ronald D. Leblanc. 'Love and Death and Woody Allens Comic Use of Gastronomy, in Literature/ Quarterly( Salisbury, Maryland), voL. 17, no. 1, 1989 Woody Allen's roots in American popular culture are broad, laced E, and A Tella. ""Allen: Manhattan Transfer, in Castoto with a variety of European literary and cinematic influences, some of Cinema, July/August 1990. them(Ingmar Bergman and Dostoevsky, for example) paid explicit Comuzio, E, ""Alice, ' in Cinema Forum, vol 31. 1991 homage within his films, others more subtly woven into the fabric of Green, D,"The Comedian,s Dilemma: Woody Allen's'Serious' his work from a wide range of earlier comic traditions. Allens Comedy, in Literature/Film Quarterly, vol. 19, no. 2 genuinely original voice in the cinema recalls writer-directors lik Tutt, R, "Truth, Beauty, and Travesty: Woody Allens Well-wrought Buster Keaton, Charlie Chaplin, and Preston Sturges, who dissect Run, in Literature/Film quarterly, vol 19, no 2, 1991 their portions of the American landscape primarily through comedy Welsh, J, Allen Stewart Konigsberg Becomes Woody Allen: A Comic In his creative virtuosity Allen also resembles Orson Welles, whos Transformation, "in Literature/Film Quarterly, vol 19, no. 2, 1991. visual and verbal wit, though contained in seemingly non-comic Quart, L,"Woody Allens New York, "in Cineaste, vol. 19, genres, in fact exposes the American character to satirical scrutiny Allens landscape, though, is particular, being that of Manhattan,its Mitchell, Sean, The Clown Who Would Be Chekhov, in The generally middle-class inhabitants and their culture and neuroses, of Guardian(u K.), 23 March which he is the cinemas great chronicler, much as Martin Scorsese is Rockwell, John, "Woody Allen: France's Monsieur Right, in Net that of New York Citys underbelly York Times, 5 April 1992. More often than not, Allen has appeared in his own films Corliss, Richard, ""Scenes from a Breakup, "in Time, 31 August 1992 resembling the great silent-screen clowns who created, then devel Cagle, Jess, " Love and Fog, ' in Entertainment Weekly, 18 Septem- oped, an ongoing screen presence. However, Allens film persona ber1992. depends upon heard dialogue and especially thrives as an updated Hoban, Phoebe, ""Everything You Always Wanted to Know about urbanely hip, explicitly Jewish amalgam of personality traits and Woody and Mia but Were Afraid to Ask, in New York, 21 delivery methods associated with comic artists who reached their September 1992. pinnacle in radio and film in the 1930s and 1940s. The key figures Johnstone, lain, "Moving Pictures Drawn from Life in The Sunda Allen plays in his own films puncture the dangerous absurdities of imes(London), 25 October 1992 their universe and guard themselves against them by maintaining Romney, J. "" Husbands and Wives, in Sight and Sound (London), a cynical, even misogynistic, verbal offense in the manner of grouche November 1992 Marx and w. C. Fields, alternated with incessant displays of self Perez-Pena, R, "Woody Allen Tells of Affair as Custody Battle deprecation akin to the cowardly, unhandsome persona established by Begins, in New York Times, 20 March 1993 Bob Hope in, for example, his Road series. Marks, P, "Allen Loses to Farrow in Bitter Custody Battle, in New Allens early films emerge logically from the sharp, pointedly ork Times. 8 June 1993 exaggerated jokes and sketches he first wrote for others, then later umgarten, Murray, ""Film and the Flattening of American Jewish delivered himself as a stand-up comic in clubs and on television. As Fiction: Bernard Malamud, Woody Allen, and Spike Lee in the with the early films of Buster Keaton, most of Allens early works City, in Contemporary Literature, Fall 1993 depend on explicit parody of recognizable genres. Even the films of Desser, David, "Woody Allen: The Schlemiel as Modern Philoso- his pre-Annie Hall period, which do not formally rely upon a particu pher, 'in American-Jewish Filmmakers: Traditions and Trends, lar genre, incorporate references to various films and directors as University of Illinois Press, 1993 commentary on the specific targets of social, political, or literary Troncale, J C, ""Illusion and Reality in Woody Allens Double Film satire: political turbulence of the 1960s via television news coverage of The Purple rose of cairo, in Proceedings of the Conference in Bananas; the pursuit by intellectuals of large religious and philo. on Film and American Culture, edited by Joel Schwartz, College sophical questions via the methods of Tolstoy and Dostoevsky in of william and Mary, 1994 Love and Death; American sexual repression via the self-discovery

DIRECTORS, 4 ALLEN th EDITION 11 ‘‘Woody Allen Section,’’ of Film Comment (New York), May￾June 1986. Combs, Richard, ‘‘A Trajectory Built for Two,’’ in Monthly Film Bulletin (London), July 1986. Morris, Christopher, ‘‘Woody Allen’s Comic Irony,’’ in Literature/ Film Quarterly (Salisbury, Maryland), vol. 15, no. 3, 1987. Yacowar, Maurice, ‘‘Beyond Parody: Woody Allen in the Eighties,’’ in Post Script (Jacksonville, Florida), Winter 1987. Dunne, Michael, ‘‘Stardust Memories, The Purple Rose of Cairo, and the Tradition of Metafiction,’’ in Film Criticism (Meadville, Pennsylvania), Fall 1987. Preussner, Arnold W., ‘‘Woody Allen’s The Purple Rose of Cairo and the Genres of Comedy,’’ and Paul Salmon and Helen Bragg, ‘‘Woody Allen’s Economy of Means: An Introduction to Hannah and Her Sisters,’’ in Literature/Film Quarterly (Salisbury, Mary￾land), vol. 16, no. 1, 1988. ‘‘Woody Allen,’’ in Film Dope (London), March 1988. Downing, Crystal, ‘‘Broadway Roses: Woody Allen’s Romantic Inheritance,’’ and Ronald D. LeBlanc, ‘‘Love and Death and Food: Woody Allen’s Comic Use of Gastronomy,’’ in Literature/ Film Quarterly (Salisbury, Maryland), vol. 17, no. 1, 1989. Girlanda, E., and A. Tella, ‘‘Allen: Manhattan Transfer,’’ in Castoto Cinema, July/August 1990. Comuzio, E., ‘‘Alice,’’ in Cinema Forum, vol. 31, 1991. Green, D., ‘‘The Comedian’s Dilemma: Woody Allen’s ‘Serious’ Comedy,’’ in Literature/Film Quarterly, vol. 19, no. 2, 1991. Tutt, R., ‘‘Truth, Beauty, and Travesty: Woody Allen’s Well-wrought Run,’’ in Literature/Film Quarterly, vol. 19, no. 2, 1991. Welsh, J., ‘‘Allen Stewart Konigsberg Becomes Woody Allen: A Comic Transformation,’’ in Literature/Film Quarterly, vol. 19, no. 2, 1991. Quart, L., ‘‘Woody Allen’s New York,’’ in Cineaste, vol. 19, no. 2, 1992. Mitchell, Sean, ‘‘The Clown Who Would Be Chekhov,’’ in The Guardian (U.K.), 23 March 1992. Rockwell, John, ‘‘Woody Allen: France’s Monsieur Right,’’ in New York Times, 5 April 1992. Corliss, Richard, ‘‘Scenes from a Breakup,’’ in Time, 31 August 1992. Cagle, Jess, ‘‘Love and Fog,’’ in Entertainment Weekly, 18 Septem￾ber 1992. Hoban, Phoebe, ‘‘Everything You Always Wanted to Know about Woody and Mia but Were Afraid to Ask,’’ in New York, 21 September 1992. Johnstone, Iain, ‘‘Moving Pictures Drawn from Life,’’ in The Sunday Times (London), 25 October 1992. Romney, J. ‘‘Husbands and Wives,’’ in Sight and Sound (London), November 1992. Perez-Pena, R., ‘‘Woody Allen Tells of Affair as Custody Battle Begins,’’ in New York Times, 20 March 1993. Marks, P., ‘‘Allen Loses to Farrow in Bitter Custody Battle,’’ in New York Times, 8 June 1993. Baumgarten, Murray, ‘‘Film and the Flattening of American Jewish Fiction: Bernard Malamud, Woody Allen, and Spike Lee in the City,’’ in Contemporary Literature, Fall 1993. Desser, David, ‘‘Woody Allen: The Schlemiel as Modern Philoso￾pher,’’ in American-Jewish Filmmakers: Traditions and Trends, University of Illinois Press, 1993. Troncale, J. C., ‘‘Illusion and Reality in Woody Allen’s Double Film of The Purple Rose of Cairo,’’ in Proceedings of the Conference on Film and American Culture, edited by Joel Schwartz, College of William and Mary, 1994. Romney, Jonathan, ‘‘Shelter from the Storm,’’ in Sight and Sound (London), February 1994. Davis, Robert, ‘‘A Stand-up Guy Sits Down: Woody Allen’s Prose,’’ in Short Story, Fall 1994. McGrath, Douglas, ‘‘If You Knew Woody like I Knew Woody,’’ in New York, 17 October 1994. Deleyto, Celestino, ‘‘The Narrator and the Narrative: The Evolution of Woody Allen’s Films,’’ in Film Criticism (Meadville), Winter 1994–1995. Lahr, John, ‘‘The Imperfectionist,’’ in New Yorker, 9 December 1996. Romney, Jonathan, ‘‘Scuzzballs like Us,’’ in Sight and Sound (Lon￾don), April 1998. On ALLEN: film— Woody Allen: An American Comedy (Harold Mantell), 1978. *** Woody Allen’s roots in American popular culture are broad, laced with a variety of European literary and cinematic influences, some of them (Ingmar Bergman and Dostoevsky, for example) paid explicit homage within his films, others more subtly woven into the fabric of his work from a wide range of earlier comic traditions. Allen’s genuinely original voice in the cinema recalls writer-directors like Buster Keaton, Charlie Chaplin, and Preston Sturges, who dissect their portions of the American landscape primarily through comedy. In his creative virtuosity Allen also resembles Orson Welles, whose visual and verbal wit, though contained in seemingly non-comic genres, in fact exposes the American character to satirical scrutiny. Allen’s landscape, though, is particular, being that of Manhattan, its generally middle-class inhabitants and their culture and neuroses, of which he is the cinema’s great chronicler, much as Martin Scorsese is that of New York City’s underbelly. More often than not, Allen has appeared in his own films, resembling the great silent-screen clowns who created, then devel￾oped, an ongoing screen presence. However, Allen’s film persona depends upon heard dialogue and especially thrives as an updated, urbanely hip, explicitly Jewish amalgam of personality traits and delivery methods associated with comic artists who reached their pinnacle in radio and film in the 1930s and 1940s. The key figures Allen plays in his own films puncture the dangerous absurdities of their universe and guard themselves against them by maintaining a cynical, even misogynistic, verbal offense in the manner of Groucho Marx and W. C. Fields, alternated with incessant displays of self￾deprecation akin to the cowardly, unhandsome persona established by Bob Hope in, for example, his Road series. Allen’s early films emerge logically from the sharp, pointedly exaggerated jokes and sketches he first wrote for others, then later delivered himself as a stand-up comic in clubs and on television. As with the early films of Buster Keaton, most of Allen’s early works depend on explicit parody of recognizable genres. Even the films of his pre-Annie Hall period, which do not formally rely upon a particu￾lar genre, incorporate references to various films and directors as commentary on the specific targets of social, political, or literary satire: political turbulence of the 1960s via television news coverage in Bananas; the pursuit by intellectuals of large religious and philo￾sophical questions via the methods of Tolstoy and Dostoevsky in Love and Death; American sexual repression via the self-discovery

ALLEN DIRECTORS, rantees offered by sex manuals in E ld woman who has outgrown hi a m d urth Allen film toward the moral terrai ry tale, Alice implicitly functions as Ike Davis(All Mia Farrow. Her idealized title ing in a yuppified New York City 12

ALLEN DIRECTORS, 4th EDITION 12 guarantees offered by sex manuals in Everything You Always Wanted to Know about Sex. All these issues reappear in Allen’s later, increasingly mature work, repeatedly revealing the anomaly of com￾edy that is cerebral in nature, dependent even in its occasional sophomoric moments upon an educated audience that responds to his brand of self-reflexive, literary, political, and sexual humor. But Allen distrusts and satirizes formal education and institutionalized discourse which, in his films, lead repeatedly to humorless intellec￾tual preening. ‘‘Those who can’t do, teach, and those who can’t teach, teach gym,’’ declares Alvy Singer in Annie Hall. No character in that film is treated with greater disdain than the Columbia professor who smugly pontificates on Fellini while standing in line waiting to see The Sorrow and the Pity. Allen inflicts swift, cinematically appropri￾ate justice. In Manhattan, Yale, a university professor of English, bears the brunt of Allen’s moral condemnation as a self-rationalizing cheat who is far ‘‘too easy’’ on himself. In Annie Hall, his Oscar-winning breakthrough film, Allen the writer (with Marshall Brickman) recapitulates and expands on his emerging topics but removes them from the highly exaggerated apparatus of his earlier parodies. Alvy Singer (Allen) and Annie Hall (Diane Keaton in her most important of several roles for Allen) enact an urban-neurotic variation on the mismatched lovers of screwball comedy, set against a realistic New York City mise-en-scène but slanted away from farce and toward character analysis. Annie Hall makes indelible the Woody Allen onscreen persona—a figure somehow involved in show business or the arts and obsessive about women, his parents, his childhood, his values, his terror of illness and death; perpetually and hilariously taking the mental temperature of himself and everyone around him. Part whiner, part nebbish, part hypochondriac, this figure is also brilliantly astute and consciously funny, miraculously irresistible to women—for a while— particularly (as in Annie Hall and Manhattan) when he can serve as their teacher. This developing figure in Allen’s work is both comic victim and witty victimizer, a moral voice in an amoral age who repeatedly discovers that the only true gods in a godless universe are cultural and artistic—movies, music, art, architecture—a perception pleasurably reinforced visually and aurally throughout his best films. With rare exceptions—Hannah is a notable one—this figure at the film’s fadeout appears destined to remain alone, enabling him, by implication, to continue functioning as a sardonically detached ob￾server of human imperfection, including his own. In Annie Hall, this characterization, despite its suffusion in angst, remains purely comic but Allen becomes progressively darker—and harder on himself—as variants of this figure emerge in the later films. Comedy, even comedy that aims for the laughter of recognition based on credibility of character and situation, rests heavily on exaggeration. In Zelig, the tallest of Woody Allen’s cinematic tall tales, the central figure is a human chameleon who satisfies his overwhelming desire for conformity by physically transforming himself into the people he meets. Zelig’s bizarre behavior is made visually believable by stunning shots that appear to place the charac￾ter of Leonard Zelig (Allen) alongside famous historical figures within actual newsreel footage of the 1920s and 1930s. Shot in Panavision and velvety black-and-white, and featuring a Gershwin score dominated by ‘‘Rhapsody in Blue,’’ Manhattan reiterates key concerns of Annie Hall but enlarges the circle of participants in a sexual la ronde that increases Allen’s ambivalence toward the moral terrain occupied by his characters—especially by Ike Davis (Allen), a forty-two-year-old man justifying a relationship with a seventeen-year-old girl (Mariel Hemingway). By film’s end she has become an eighteen-year-old woman who has outgrown him, just as Annie Hall outgrew Alvy Singer. The film (like Hannah and Her Sisters later) is, above all, a celebration of New York City, which Ike, like Allen, ‘‘idolize[s] all out of proportion.’’ In the Pirandellian The Purple Rose of Cairo, the fourth Allen film to star Mia Farrow, a character in a black-and-white film-within-the- film leaps literally out of the frame into the heroine’s local movie theatre. Here film itself—in this case the movies of the 1930s—both distorts reality by setting dangerously high expectations, and makes it more bearable by permitting Cecilia, Allen’s heroine, to escape from her dismal Depression existence. Like Manhattan before it, and Hannah and Her Sisters and Radio Days after it,The Purple Rose of Cairo examines the healing power of popular art. Arguably Allen’s finest film to date, Hannah and Her Sisters shifts his own figure further away from the center of the story than he had ever been before, treating himself as one of nine prominent characters in the action. Allen’s screenplay weaves an ingenious tapestry around three sisters, their parents, assorted mates, lovers, and friends (including Allen as Hannah’s ex-husband Mickey Sachs). A Chekhovian exploration of the upper-middle-class world of a group of New Yorkers a decade after Annie Hall, Hannah is deliberately episodic in structure, its sequences separated by Brechtian title cards that suggest the thematic elements of each succeeding segment. Yet it is an extraordinarily seamless film, unified by the family at its center; three Thanksgiving dinner scenes at key intervals; an exquisite color celebration of an idyllic New York City; and music by Cole Porter, Rodgers and Hart, and Puccini (among others) that italicizes the genuinely romantic nature of the film’s tone. The most optimistic of Allen’s major films, Hannah restores its inhabitants to a world of pure comedy, their futures epitomized by the fate of Mickey Sachs. For once, the Allen figure is a man who will live happily ever after, a man formerly sterile, now apparently fertile, as is comedy’s magical way. Arguably his most morally provocative and ambiguous film, Crimes and Misdemeanors further marginalizes—and significantly darkens—the figure Woody Allen invites audiences to confuse with his offscreen self. The self-reflexive plight of filmmaker Cliff Stern (Allen) alternates with the central dilemma confronted by ophthal￾mologist Judah Rosenthal (Martin Landau), a medical pillar of society who bears primary, if indirect, responsibility for the murder of his mistress (Anjelica Huston). Religious and philosophical issues present in Allen’s films since Love and Death achieve a new and serious resonance, particularly through the additional presence of a faith-retaining rabbi gradually (in one of numerous Oedipal refer￾ences in Allen’s work) losing his sight, and a Holocaust survivor￾philosopher who preaches the gospel of endurance—then commits suicide by (as his note prosaically puts it) ‘‘going out the window.’’ In its pessimism, diametrically opposed to the joyous Hannah and Her Sisters, Crimes and Misdemeanors posits a universe utterly and disturbingly devoid of poetic justice or moral certainty. The picture’s genuinely comic sequences, usually involving Cliff and Alan Alda as his fatuous producer brother-in-law (‘‘Comedy is tragedy plus time!’’) do not contradict the fact that it is Allen’s most somber major film, a comedy-melodrama that in its final sequence crosses the brink to the level of domestic tragedy. Here, the Allen figure is not only alone, as he has been in the past, but alone and in despair. In entirely contrasting visual ways, Alice and Shadows and Fog exhibit immedi￾ately recognizable Allen concerns in highly original fashion. A glossy, airy, gently satiric modern fairy tale, Alice implicitly functions as Allen’s most open love letter to Mia Farrow. Her idealized title character searches for meaning in a yuppified New York City

DIRECTORS, 4 EDITIO ALLEN st articulate definition relationship looking for its a blaze of publicity that further alienated ntastical situations which have a certain o All United Sta kestet bleans eetratinge len 13

DIRECTORS, 4 ALLEN th EDITION 13 Eventually, she finds it by leaving her husband, meeting Mother Theresa, and, especially, by discovering that her two children offer her the only genuine vehicle for romance in this romantic comedy manqué. The film’s final shot displays a glowing Alice joyfully pushing them on playground swings as two former women friends, in voice-over dialogue, bemoan her self-selected maidless and nannyless condition, one which the film clearly intends us to embrace. In Shadows and Fog, Allen employs a specific cinematic genre more directly than at any time since the 1970s. His homage to German Expressionism, Shadows and Fog is shot in black and white in a manner deliberately reminiscent of the films of Pabst, Lang, and Murnau. That visual style and the placement at the film’s center of a distinctly Kafkaesque hero (played by Allen) combine to make Shadows and Fog Allen’s most overtly ‘‘European’’ and wryly metaphysical film since Interiors fourteen years earlier. Not surpris￾ingly, Shadows and Fog was greeted by critics much more favorably in Europe than in the United States, but left audiences on both continents less than satisfied. As Chekhov’s forgiving spirit energizes the comic tone of Hannah and Her Sisters, so the playwright August Strindberg’s hostility controls the dark marital terrain of Husbands and Wives. Strindbergian gender battles frequently appear in earlier Allen films, but they are more typically rescued back from the precipice by comedy. Allen’s partial attempt to attribute comic closure to Husbands and Wives pleases but inadequately convinces. While the film (which might have been more accurately titled Husbands, Wives, and Lovers) is often extremely funny, its portrait of two deteriorating marriages is as corrosive as anything in the Allen canon. Husbands and Wives contains other elements long present in Allen’s films: multiple story￾lines, a deliberately episodic structure covering a period of about a year, and the involvement of a central character, Gabe Roth (played by Allen), with a woman (Juliette Lewis) young enough to be his daughter. Unlike Ike Davis’s relationship with Tracy in Manhattan, however, this one is consummated—and concluded—with only a kiss. Despite the presence of familiar material, Husbands and Wives shows Allen continuing to break new ground, particularly in the film’s technical virtuosity. The frequent use of a hand-held camera reinforces the neurotic, darting, unpredictable behavior of key charac￾ters. Moving beyond his use of title cards to provide Brechtian distancing in Hannah and Her Sisters, Allen here employs a docu￾mentary technique to punctuate the main action of the film. The central characters and a minor one (the ex-husband of Judy Roth, the woman played by Mia Farrow) are individually interviewed by an off￾screen male voice, which appears to function simultaneously as documentary recorder of their woeful tales and as therapist to their psyches. These sequences are inserted periodically throughout the film, as the interviewees speak directly to the camera—and therefore to us, thus forcing the audience to participate in the filmmaker￾interviewer’s role as therapist. Husbands and Wives deserves a place alongside Hannah and Her Sisters and Crimes and Misdemeanors as representing Allen’s most textured and mature work to date. But the film’s visual and thematic pleasures have been obscured by audience desire to see in Husbands and Wives the spectacle of art imitating life with a vengeance; and, in fact, Husbands and Wives does contain uncanny links to the Allen￾Farrow breakup even though the film was completed before their relationship came to a dramatic and controversial end, attended by a blaze of publicity that further alienated those audiences not addicted to Allen and narrowed his already selective audience base in the United States. The type of ethical dilemma which occupies such a central place in the Allen canon (and which usually finds its most articulate definition in the mouths of characters played by Allen himself) appeared to have tumbled out of an Allen movie and onto worldwide front pages. (‘‘Life doesn’t imitate art; it imitates bad television,’’ says Allen’s Gabe Roth in Husbands and Wives.) In 1992, shortly before the release of Husbands and Wives, Allen’s romantic relationship with Soon-Yi Previn, Mia Farrow’s twenty-one-year-old adopted daugh￾ter, was discovered by her mother, who made the fact public. Furious and ugly charges and countercharges ensued, resulting in Allen’s loss of custody of his three children a year later, while the legal wrangling continued unabated for some considerable time. It is not too fanciful to suggest that Allen’s personal crisis accounted for what, on the one hand, has appeared to be a search for new directions—imaginative, even experimental—and on the other hand, a loss of focus and a diminished coherency of goal and vision. Nonetheless, in the eight-year period following the release of Husbands and Wives, Allen, undaunted by personal tragedy and adverse publicity, continued to work steadily, but the collected films of this period are less easy to pigeon-hole or analyze and have mostly been something of a disappointment to fans and a puzzlement to several critics. He reverted firmly to his distinctive comic universe with Don’t Drink the Water, adapted from his early Broadway play and first shown in America on network television; Manhattan Murder Mystery, a comedy-mystery in the manner of The Thin Man films and the Mr. and Mrs. North radio and television series, with Diane Keaton (replacing Mia Farrow, who was originally scheduled to play Allen’s wife) and Alan Alda; the breathtakingly cruel and brilliantly funny Bullets over Broadway, set in the 1920s/1930s and satirizing the marriage of theater and the underworld that was a staple of so many late 1920s and early 1930s films. At the center is a playwright (John Cusack) grappling with his first Broadway production and becoming involved with a flamboyantly fey actress (Dianne Wiest). The charac￾ter could be considered as an emblem for a younger Allen, but the film as a whole is richly comical and sad in its behind-the-scenes portrait of Broadway life and work, as well as awesome in its sense of period and its gentle parody of theatrical and underworld stereotypes. Mighty Aphrodite again tempts audiences to see elements of Allen’s life reflected in the central plot issue of child adoption, but, with its parodies of Greek tragedy and its broadly satiric array of characters, the film rarely strays from its identification as genuine Allen comedy. These 1990s films reveal yet again why so many actors want to work with Allen: Dianne Wiest won her second supporting actress Oscar for her role in an Allen film for Bullets over Broadway (her first was for Hannah); and Mira Sorvino won the same award for Mighty Aphrodite the following year. But, while Allen’s primary response to the tarnish on his personal reputation has been to keep making films, it might be suggested that he now needs to pause for thought and regain some perspective as to the motive force behind them. The four since Mighty Aphrodite have evidenced the lack of sure-footedness referred to above. His evident desire to spot and utilize talented actors, known and unknown, coincides with a rash of screenplays so heavily peopled as to blur the central characters, leaving audiences with far less to engage with than hitherto. The least successful, and perhaps most seriously troubled internally, of the last four of the 1990s is Deconstructing Harry, relentlessly and unattractively self-referential, and looking for its humor in fantasy and fantastical situations which have a certain farcical crudity in contrast to Allen’s usually penetrating verbal wit. Celebrity, miscasting Kenneth Branagh in the central role that Allen

ALMODOVAR DIRECTORS, 4 EDItION would once have played, is not without its pleasures, but fails to cohere: Sweet and Lowdown, visiting the territory of Allen's other great love-jazz-is ambitious, entertaining, and boasts a wonderful performance from Sean Penn. If it is neither quite interesting nor quit funny enough, it is nonetheless endlessly inventive, and as good a jazz Im as any in evoking the ethos of its subject. Arguably the clearest success of the four, its virtues criminally misunderstood by all but the nascent, is Everyone Says I Love You, in which a now wispil aging Woody co-stars himself with the ravishing Julia Roberts c s the boundaries of his earlier collected oeuvre that invited us o accept his seemingly unlikely appeal for women, and almost self rodying the nebbish aspects of his screen persona. The film, Unusually, broadens Allens physical landscape, setting the core of the Allen-Roberts romance in Venice(a city that features sign cantly in Barbara Kopple's documentary following Woody and his band-and his wife Soon-Yi-on a European tour) and climaxing in Paris. Too long, structurally undisciplined, and a bit of a rag-bag it may be, but Everyone Says I Love You is a blissful homage to the Hollywood musical, knowing and affectionate although it is often justifiably difficult for us to believe that. Is it over? Can I go now?"asks Gabe Roth of the off-screen interviewer in the final shot of Husbands and wives. Divorced from his wife. gabe is ow alone, but he chooses to be. Gabe may not be happy-rarely is any character played by Woody Allen ever actually happy-but, unlike Clifford Stern at the end of crimes and misdemeanors gabe is decidedly not in despair. Neither, hopefully, is Woody Allen. It clear that the fertile imagination, while perhaps floundering to find new form, is intact, and the comic spirit still present. To the question Pedro Almodovar Whither now? must come the .Who knows? But what- ver path he treads in the future, Woody Allen has proved one of the w auteurs of the American cinema worthy of the over-used term, Films as director and it may well be that his great masterwork is yet to spring from the autumn of his years. 1974 Dos putas, o, Historia de amor que termina en boda(Two Whores, or, A Love Story that Ends in Marriage)(Super-8) La caida de Sodoma(The Fall of Sodom)(Super-8) -Mark W. Estrin, updated by robyn Karney 1975 Homenaje(Homage)(Super-8) 1976 La estrella(The Stars)(Super-8) 977 Sexo va: Sexo vienne (Sex Comes and Goes)( Super-8 ALMODOVAR. Pedro Complementos(shorts) 1978 Folle, folle, folleme, Tim(Fuck Me, Fuck Me, Fuck Me, Tim Il-length); Salome(16mm) Nationality: Spanish. Born: Calzada de Clatrava, La Mancha, Spain, 1980 Pepi, Luci, Bom y otras chicas de monton(Pepi, Luci, Bom 51(some sources say 1947). Career: Moved to Madrid and and Lots of Other Girls)(+ sc) worked for National Telephone Company, 1967; wrote comic strips 1982 Laberinto de pasiones (Labyrinth of Passions)(+ Sc, pr, role) and articles for underground magazines; joined independent theatre 1983 Entre tinieblas (Into the Dark: The Sisters of Darkness) group Los Goliardos and started making Super-8 films with them, cian,has 1984 Que me hecho yo para merecer esto?(What Have I Done to written music for his own films. Awards: glauber rocha award for Deserve This? )(+ sc) Best Director, Rio Film Festival, and Los Angeles Film Critics 1986 Matador (+ sc): La ley del deseo (Law of Desire)(+ sc, Association"New Generation Award, 1987, for Law of Desire: National Society of Film Critics Award, special citation for origina 1988 Mujeres al borde de un ataque de nervios (Women on the ty, 1988: Venice International Film Festival best screenplay award, Verge of a Nervous Breakdown)(+ sc, + pr) National Board of Review of Motion Pictures best foreign film, New 1990 Atame! (Tie Me up, Tie Me Down !)(+sc) York Film Critics Circle best foreign film, and Felix Award for best 1991 Tacomes lejanos(High Heels)(+ sc, song) young film, all 1988, and Academy Award nomination for best 1993 Kika(+ sc) foreign film, Orson Welles Award for best foreign-language film, 1995 Le flor de mi secreto(The Flower of My Secret)(+ sc) both 1989, all for Women on the verge of a Nervous Breakdown. 1997 Carne tremula(live Flesh)(+ sc, role as himself, Agent: El Deseo SA, 117 Velazquez, Madrid, Spain. 1999 Todo sobre mi madre(All about My Mother)(+ sc) 14

ALMODÓVAR DIRECTORS, 4th EDITION 14 would once have played, is not without its pleasures, but fails to cohere; Sweet and Lowdown, visiting the territory of Allen’s other great love—jazz—is ambitious, entertaining, and boasts a wonderful performance from Sean Penn. If it is neither quite interesting nor quite funny enough, it is nonetheless endlessly inventive, and as good a jazz film as any in evoking the ethos of its subject. Arguably the clearest success of the four, its virtues criminally misunderstood by all but the cognoscenti, is Everyone Says I Love You, in which a now wispily aging Woody co-stars himself with the ravishing Julia Roberts, pushing the boundaries of his earlier collected oeuvre that invited us to accept his seemingly unlikely appeal for women, and almost self￾parodying the nebbish aspects of his screen persona. The film, unusually, broadens Allen’s physical landscape, setting the core of the Allen-Roberts romance in Venice (a city that features signifi- cantly in Barbara Kopple’s documentary following Woody and his band—and his wife Soon-Yi—on a European tour) and climaxing in Paris. Too long, structurally undisciplined, and a bit of a rag-bag it may be, but Everyone Says I Love You is a blissful homage to the Hollywood musical, knowing and affectionate. Allen has always denied that his film persona is related to his own, although it is often justifiably difficult for us to believe that. ‘‘Is it over? Can I go now?’’ asks Gabe Roth of the off-screen interviewer in the final shot of Husbands and Wives. Divorced from his wife, Gabe is now alone, but he chooses to be. Gabe may not be happy—rarely is any character played by Woody Allen ever actually happy—but, unlike Clifford Stern at the end of Crimes and Misdemeanors, Gabe is decidedly not in despair. Neither, hopefully, is Woody Allen. It is clear that the fertile imagination, while perhaps floundering to find a new form, is intact, and the comic spirit still present. To the question ‘‘Whither now?’’ must come the answer ‘‘Who knows?’’ But what￾ever path he treads in the future, Woody Allen has proved one of the few auteurs of the American cinema worthy of the over-used term, and it may well be that his great masterwork is yet to spring from the autumn of his years. —Mark W. Estrin, updated by Robyn Karney ALMODÓVAR, Pedro Nationality: Spanish. Born: Calzada de Clatrava, La Mancha, Spain, 1951 (some sources say 1947). Career: Moved to Madrid and worked for National Telephone Company, 1967; wrote comic strips and articles for underground magazines; joined independent theatre group Los Goliardos and started making Super-8 films with them, 1974; first feature, Pepi, released 1980; also a rock musician, has written music for his own films. Awards: Glauber Rocha Award for Best Director, Rio Film Festival, and Los Angeles Film Critics Association ‘‘New Generation’’ Award, 1987, for Law of Desire; National Society of Film Critics Award, special citation for original￾ity, 1988; Venice International Film Festival best screenplay award, National Board of Review of Motion Pictures best foreign film, New York Film Critics Circle best foreign film, and Felix Award for best young film, all 1988, and Academy Award nomination for best foreign film, Orson Welles Award for best foreign-language film, both 1989, all for Women on the Verge of a Nervous Breakdown. Agent: El Deseo SA, 117 Velázquez, Madrid, Spain. Pedro Almodóvar Films as Director: 1974 Dos putas, o, Historia de amor que termina en boda (Two Whores, or, A Love Story that Ends in Marriage) (Super-8); La caida de Sodoma (The Fall of Sodom) (Super-8) 1975 Homenaje (Homage) (Super-8) 1976 La estrella (The Stars) (Super-8) 1977 Sexo va: Sexo vienne (Sex Comes and Goes) (Super-8); Complementos (shorts) 1978 Folle, folle, folleme, Tim (Fuck Me, Fuck Me, Fuck Me, Tim) (Super-8, full-length); Salome (16mm) 1980 Pepi, Luci, Bom y otras chicas de montón (Pepi, Luci, Bom and Lots of Other Girls) (+ sc) 1982 Laberinto de pasiones (Labyrinth of Passions) (+ sc, + pr, role) 1983 Entre tinieblas (Into the Dark; The Sisters of Darkness) (+ sc, song) 1984 Qué me hecho yo para merecer esto? (What Have I Done to Deserve This?) (+ sc) 1986 Matador (+ sc); La ley del deseo (Law of Desire) (+ sc, score, song) 1988 Mujeres al borde de un ataque de nervios (Women on the Verge of a Nervous Breakdown) (+ sc, + pr) 1990 Atame! (Tie Me up, Tie Me Down!) (+ sc) 1991 Tacomes lejanos (High Heels) (+ sc, song) 1993 Kika (+ sc) 1995 Le flor de mi secreto (The Flower of My Secret) (+ sc) 1997 Carne trémula (Live Flesh) (+ sc, role as himself) 1999 Todo sobre mi madre (All about My Mother) (+ sc)

DIRECTORS, 4 EDITION ALMODOVAR Films as producer: Filmbiography, in Monthly Film Bulletin(London), January 1989 Films in Review(New York), January 1989 1993 Accion mutante(Mutant Action) Corliss, Richard "Almodovar a la mode in Time(New York), 30 1996 Mi nombre es sombra(assoc pr) January 1989 Arroyo, J, ""Pedro Almodovar: Law and Desire, in Descant, vol 20,no.1-2,1989 Publications Cadalso, L, " "Pedro Almodovar: A Spanish Perspective, in Cineaste By ALMODOVAR: books- O'Toole, L,, "Almodovar in Bondage, in Sight and Sound(Lon- don),vol.59,no.4,1990 El sueno de la razon(short stories), Madrid, 1980. Bennett, Annie, Tour de farce, in 20/20(London), January 1990. Fuego en las entranas(Fire Deep Inside)(novel), Madrid, 1982. Pedro Almodovar, ' in National Film Theatre Booklet(London) Patty Diphusa y otros textos(Patty Diphusa and Other Writings), July 1990 Barcelona. 1991 Kinder, M, "High Heels, in Film Quarterly, vol 45, no 3, 1992 Almodovar on Almodovar. London. 1995 Levy, S,"King of Spain, in American Film, January/Febru The Flower of My Secret, London, 199 ary1992. Moore, L, "New Role for Almodovar, in Variety(New York), 28 By ALMODOVAR: articles- September 1992. Strauss, F, "The Almodovar Picture Show, in Cahiers du cinema Interview in Contracampo(Madrid), September 1981 (Paris), September 1993 Interview with J C Rentero, in Casablanca(Madrid), May 1984 Williams, Bruce, ""Slippery When Wet: En-sexualized Transgression Pleasure and the New Spanish Mentality, an interview with in the Films of Pedro Almodovar, in Post Script( Commerce), Marsha Kinder, in Film Quarterly(Berkeley ), Fall 1987 Summer 1995 Interview in Time Out(London), 2 November 1988 Smith, P.,"Almodovar and the Tin Can, in Sight and Sound Interview in Film Comment (New York), November/December 1988 (London), February 1996 Interview in Films and Filming(London), June 1989 Toubiana. S,""Masculin, feminin. in Cahiers du Cinema(Paris) Interview in inter/iew(New York), January 1990 November 1997 Interview in City Limits(London), 5 July 1990 Interview with J Schnabel, in Interview(New York), January 1992 Perche il melodrama, an interview with E Imparato, in Cinefor Bergamo, Italy ), April 1992. Pedro Almodovar is more than the most successful Spanish film Interview with F. Strauss, in Cahiers du Cinema(Paris), May 1992 export since Carlos Saura. At home, the production of Almodovar's Regular column(as"Patty Diphusa')in La luna(madrid) films, their premiers, and the works themselves are surrounded by nterview in Cahiers du Cinema(Paris), November 1997 scandal, and the Spanish popular press examines what the director The Pain in Spain, in Time Out (London), 10 May 1995 eats, the qualities he looks for in a lover, and his weight fluctuations in Interview with Peter Paphides, in Time Out (London), 28 June 1995. a fashion normally reserved for movie stars and European royalty Abroad, the films have surprised those with set notions of what On ALMODOVAR: books- camera is or should be: Almodovar's uncompromising incorporation of elements specific to a gay culture into mainstream Bouza Vidal, Nuria, El cine de Pedro Almodovar(The Films of pedro forms with wide crossover appeal has been held up as a model for Almodovar), Madrid, 1988 other gay directors to emulate. The films and almodovar's creation of Boquerini, Pedro Almodovar, Madrid, 1989. a carefully cultivated persona in the press have meshed into Smith, Paul Julian, Desire Unlimited: The Cinema of Pedro Almodovar, "Almodovar, 'a singular trademark. "Almodovar"makes the man London 1994 and the movies interchangeable even as it overshadows both. The Vernon, Kathleen M, and Barbara Morris, Post-Franco, Postmodern: term now embodies, and waves the flag for, the" New Spain'as it The Films of Pedro Almodovar, Westport, Connecticut, 1995 would like to see itself: democratic, permissive, prosperous, interna- tional, irreverent, and totally different from what it was in the On ALMOdOVAR: articles- franco years. Almodovar's career can be usefully divided into three stages Sanchez Valdes, J, ""Pedro Almodovar: Laberinto de pasiones, in marginal underground period in the 1970s, during which he persor Casablanca(Madrid), April 1982 ally funded and controlled every aspect of the shoestring-budgeted Paranagua, P. A,"'Pedro Almodovar. En deuxieme vitesse generally short films, and which culminated in Pepi, Luci, Bom Positif(Paris), June 1986 y otras chicas de monton, his feature film debut; the early to mid Fernandez, Enrique, "The Lawyer of Desire, in Village Voice(Ne 980s, during which h York), 7 April 1987 costly though still low-budget films, but for other producers and with Quarterly (Los Angeles), Fall 1987 varying degrees of state subsidization; and, from The Law of Desire in Pauline, ""Red on Red, in New Yorker, 16 May 1988 1986, a period in which he reverted to producing his own films, which Spains Pedro Almodovar on the Verge of Global Fame, in Variety now benefitted from substantial budgets(by Spanish standards), top New York ), 24 August 1988 technicians and maximum state subsidies. Though critical reaction to Kael. Pauline. "'Unreal 'in New Yorker. 14 November 1988 his work has varied, each of his films has enjoyed increasing financial

DIRECTORS, 4 ALMODÓVAR th EDITION 15 Films as Producer: 1993 Acción mutante (Mutant Action) 1996 Mi nombre es sombra (assoc pr) Publications By ALMODÓVAR: books— El sueno de la razon (short stories), Madrid, 1980. Fuego en las entranas (Fire Deep Inside) (novel), Madrid, 1982. Patty Diphusa y otros textos (Patty Diphusa and Other Writings), Barcelona, 1991. Almodóvar on Almodóvar, London, 1995. The Flower of My Secret, London, 1997. By ALMODÓVAR: articles— Interview in Contracampo (Madrid), September 1981. Interview with J. C. Rentero, in Casablanca (Madrid), May 1984. ‘‘Pleasure and the New Spanish Mentality,’’ an interview with Marsha Kinder, in Film Quarterly (Berkeley), Fall 1987. Interview in Time Out (London), 2 November 1988. Interview in Film Comment (New York), November/December 1988. Interview in Films and Filming (London), June 1989. Interview in Inter/View (New York), January 1990. Interview in City Limits (London), 5 July 1990. Interview with J. Schnabel, in Interview (New York), January 1992. ‘‘Perche il melodrama,’’ an interview with E. Imparato, in Cineforum (Bergamo, Italy), April 1992. Interview with F. Strauss, in Cahiers du Cinéma (Paris), May 1992. Regular column (as ‘‘Patty Diphusa’’) in La Luna (Madrid). Interview in Cahiers du Cinéma (Paris), November 1997. ‘‘The Pain in Spain,’’ in Time Out (London), 10 May 1995. Interview with Peter Paphides, in Time Out (London), 28 June 1995. On ALMODÓVAR: books— Bouza Vidal, Nuria, El cine de Pedro Almodóvar (The Films of Pedro Almodóvar), Madrid, 1988. Boquerini, Pedro Almodóvar, Madrid, 1989. Smith, Paul Julian, Desire Unlimited: The Cinema of Pedro Almodóvar, London, 1994. Vernon, Kathleen M., and Barbara Morris, Post-Franco, Postmodern: The Films of Pedro Almodóvar, Westport, Connecticut, 1995. On ALMODÓVAR: articles— Sanchez Valdès, J., ‘‘Pedro Almodóvar: Laberinto de pasiones,’’ in Casablanca (Madrid), April 1982. Paranagua, P. A., ‘‘Pedro Almodóvar. En deuxième vitesse,’’ in Positif (Paris), June 1986. Fernandez, Enrique, ‘‘The Lawyer of Desire,’’ in Village Voice (New York), 7 April 1987. Film Quarterly (Los Angeles), Fall 1987. Kael, Pauline, ‘‘Red on Red,’’ in New Yorker, 16 May 1988. ‘‘Spain’s Pedro Almodóvar on the Verge of Global Fame,’’ in Variety (New York), 24 August 1988. Kael, Pauline, ‘‘Unreal,’’ in New Yorker, 14 November 1988. Filmbiography, in Monthly Film Bulletin (London), January 1989. Films in Review (New York), January 1989. Corliss, Richard, ‘‘Almodóvar à la Mode,’’ in Time (New York), 30 January 1989. Arroyo, J., ‘‘Pedro Almodóvar: Law and Desire,’’ in Descant, vol. 20, no. 1–2, 1989. Cadalso, I., ‘‘Pedro Almodóvar: A Spanish Perspective,’’ in Cineaste, vol. 18, no. 1, 1990. O’Toole, L., ‘‘Almodóvar in Bondage,’’ in Sight and Sound (Lon￾don), vol. 59, no. 4, 1990. Bennett, Annie, ‘‘Tour de Farce,’’ in 20/20 (London), January 1990. ‘‘Pedro Almodóvar,’’ in National Film Theatre Booklet (London), July 1990. Kinder, M., ‘‘High Heels,’’ in Film Quarterly, vol. 45, no. 3, 1992. Levy, S., ‘‘King of Spain,’’ in American Film, January/Febru￾ary 1992. Moore, L., ‘‘New Role for Almodóvar,’’ in Variety (New York), 28 September 1992. Strauss, F., ‘‘The Almodóvar Picture Show,’’ in Cahiers du Cinéma (Paris), September 1993. Williams, Bruce, ‘‘Slippery When Wet: En-sexualized Transgression in the Films of Pedro Almodóvar,’’ in Post Script (Commerce), Summer 1995. Smith, P.J., ‘‘Almodóvar and the Tin Can,’’ in Sight and Sound (London), February 1996. Toubiana, S., ‘‘Masculin, feminin,’’ in Cahiers du Cinéma (Paris), November 1997. *** Pedro Almodóvar is more than the most successful Spanish film export since Carlos Saura. At home, the production of Almodóvar’s films, their premiers, and the works themselves are surrounded by scandal, and the Spanish popular press examines what the director eats, the qualities he looks for in a lover, and his weight fluctuations in a fashion normally reserved for movie stars and European royalty. Abroad, the films have surprised those with set notions of what Spanish camera is or should be; Almodóvar’s uncompromising incorporation of elements specific to a gay culture into mainstream forms with wide crossover appeal has been held up as a model for other gay directors to emulate. The films and Almodóvar’s creation of a carefully cultivated persona in the press have meshed into ‘‘Almodóvar,’’ a singular trademark. ‘‘Almodóvar’’ makes the man and the movies interchangeable even as it overshadows both. The term now embodies, and waves the flag for, the ‘‘New Spain’’ as it would like to see itself: democratic, permissive, prosperous, interna￾tional, irreverent, and totally different from what it was in the Franco years. Almodóvar’s career can be usefully divided into three stages: a marginal underground period in the 1970s, during which he person￾ally funded and controlled every aspect of the shoestring-budgeted, generally short films, and which culminated in Pepi, Luci, Bom y otras chicas de montón, his feature film debut; the early to mid- 1980s, during which he was still writing and directing his increasingly costly though still low-budget films, but for other producers and with varying degrees of state subsidization; and, from The Law of Desire in 1986, a period in which he reverted to producing his own films, which now benefitted from substantial budgets (by Spanish standards), top technicians, and maximum state subsidies. Though critical reaction to his work has varied, each of his films has enjoyed increasing financial