Zelig (1983)
Amazing concept, diminishing laughs
When this starts, it's astonishing, and funny, and inventive. And very very well done. Starting with Susan Sontag, the real Sontag, is a leap of reality that seems like it'll carry the whole 79 minutes. And there are truly moments that show up throughout that are good for a gasp or a laugh, the Hitler scene for one.
But the concept is the key, and to some extent it's been done before, at least in stills. And once you get it, which might take three minutes or might take ten, you've got it, and it depends more on acting or cleverness from then on. And for me it falters too often to really make it worthwhile (Mia Farrow is really a bore throughout, and even Allen is sometimes straining). I have to say, the first time I saw it I didn't get as tired of it, so if it's the first time you might be thrilled. And if you've seen the 1994 Forrest Gump (and liked it), you owe it to yourself to see Zelig for being first, and in my small view, better, technically.
Because technically this is a complete marvel. The original footage is as authentically 1920s and 30s as anything authentic (an odd post modern truth), and the newly composed music and dance numbers are really fabulous, and funny. The team Allen has during all his films this period (many of them my favorites) is none other than Gordon Willis behind the camera, Susan Morse editing, Juliet Taylor casting, and Santo Loquasto costumes. The music by Allen veteran Dick Hyman, who is now more famous for his ragtime renditions, is key, of course, and really convincing (sometimes convincingly bad, very period).
So whatever my reservations, this is in many ways a fresh, unique, brilliant film, a small one with big brief moments.
Amazing concept, diminishing laughs
When this starts, it's astonishing, and funny, and inventive. And very very well done. Starting with Susan Sontag, the real Sontag, is a leap of reality that seems like it'll carry the whole 79 minutes. And there are truly moments that show up throughout that are good for a gasp or a laugh, the Hitler scene for one.
But the concept is the key, and to some extent it's been done before, at least in stills. And once you get it, which might take three minutes or might take ten, you've got it, and it depends more on acting or cleverness from then on. And for me it falters too often to really make it worthwhile (Mia Farrow is really a bore throughout, and even Allen is sometimes straining). I have to say, the first time I saw it I didn't get as tired of it, so if it's the first time you might be thrilled. And if you've seen the 1994 Forrest Gump (and liked it), you owe it to yourself to see Zelig for being first, and in my small view, better, technically.
Because technically this is a complete marvel. The original footage is as authentically 1920s and 30s as anything authentic (an odd post modern truth), and the newly composed music and dance numbers are really fabulous, and funny. The team Allen has during all his films this period (many of them my favorites) is none other than Gordon Willis behind the camera, Susan Morse editing, Juliet Taylor casting, and Santo Loquasto costumes. The music by Allen veteran Dick Hyman, who is now more famous for his ragtime renditions, is key, of course, and really convincing (sometimes convincingly bad, very period).
So whatever my reservations, this is in many ways a fresh, unique, brilliant film, a small one with big brief moments.