The Reluctant Film Art of Woody Allen Read Online Free PDF Page B

with Lee, the film never resolving his erotic conflict between sisters. “Woody Allen, The Rolling Stone Interview,” p. 49.
    4. Mickey’s and Holly’s image in the mirror provides a visual antithesis to an earlier scene in which a mirror figures prominendy: Mickey’s botched suicide attempt results in his blasting the glass out of a mirror in his apartment.
    5. The clown in Shadows and Fog does repudiate his career as a circus artist in order to be a father to the abandoned child he and Irmy have found, but his commitment is counterpoised with Kleinman’s culminating dedication of his life to assisting in the creation of Irmstedt’s illusions.
    6. Mia Farrow, What Falls Away (New York: Doubleday, 1997), pp. 195, 227.
    7. Walter Isaacson, “The Heart Wants What It Wants” (interview with Woody Allen), Time Magazine, August 31, 1992, p. 59.
    8. Quoted in Phoebe Hoban, “Everything You Always Wanted to Know about Woody and Mia (But Were Afraid to Ask),” New York, September 21, 1992, p. 39.
    9. Quoted in Tim Carroll, Woody and His Women, p. 244.
    10. What Falls Away p. 239.
    11. What Falls Away p. 228.
    12. What Falls Away p. 283.
    13. Kristi Groteke with Marjorie Rosen, Mia and Woody: Love and Betrayal (New York: Carroll and Graf, 1994), p. 68.
    14. William Geist’s 1987 Rolling Stone interview illustrates Allen’s relative equanimity at the time, Allen attributing his good mood in part to the relationship with Farrow (p. 214).
    15. With the exception of the Depression-wracked The Purple Rose of Cairo, Allen’s films concentrate on characters for whom having sufficient money to live is not a problem. Sandy Bates’s comments to Daisy on this issue seem to reflect Allen’s own preferences in writing screenplays: “But what happens if you’re living in a more, you know, uh, more affluent society. And you’re lucky enough not to have to worry about that. Let’s say you’re surviving…. So, then your problems become, can I fall in love, or why can’t I fall in love, and why do I age and die, and what meaning can my life possibly have?” (Stardust Memories, p. 351).
    16. Douglas Brode points out the further parallel between Interiors and Hannah and Her Sisters of the three central sisters: Renata/Hannah, the successful artist whose achievements overshadow and intimidate her sisters; Joey/Holly, who desires to create but lacks the requisite talent, and Flyn/Lee, whose physical beauty is her primary artistic accomplishment. The Films of Woody Allen, p. 244.
    17. The fact that the minuscule role of Frederick is played by Max Von Sydow, an actor so closely identified with Ingmar Bergman, suggests how little Bergmanian brooding is permitted to infect Hannah and Her Sisters, ostensibly one of Allen’s sunniest serious films.
    18. Holly’s first play is stitched together from what Lee has told her of Hannah and Elliot’s marital problems, and constitutes an act of revenge upon her more accomplished sister; the second script which she reads to Mickey allows her to avenge herself against April (Carrie Fisher), who took architect David away from her. Mickey’s unwillingness to criticize the draft says more about his romantic designs on Holly than about the virtues of her play.
    19. “Intriguingly,” Brode argues, “Allen’s own character Mickey appears to belong to another film from the rest of the characters, who are tightly knitted together. Other than the fact that he was once married to Hannah, he seems to be functioning in an alternative universe” (p. 247).
    20. What Falls Away p. 226.
    21. What Falls Away p. 234.
    22. Crimes and Misdemeanors is the other “novel-on-film.” Lax, p. 274.
    23. The original screenplay contained only the opening Thanksgiving celebration. After substantial shooting had been completed, Allen added the Thanksgiving two years later, and then the intervening holiday in which Hannah proclaims “it’s so dark tonight,” Elliot’s affirmation of love for her precipitating the