August 6, 2012
At one-film-a-year pace, Woody Allen not slowing down
Funny, serious, and controversial, Woody Allen’s films evoke many emotions—but his Jewish upbringing sticks out in them like a matzo ball in chicken soup.
With Allen’s new movie, “To Rome With Love,” opening this summer and his “Bullets Over Broadway” set for a musical theater adaptation, this 76-year-old American filmmaker is not slowing down and remains at the top of his game.
According to Leonard Quart, professor emeritus of cinema at the City University of New York Grad Center and contributing editor of Cineaste, Allen’s comic style and vision differ significantly from other Jewish filmmakers like Mel Brooks.
“Allen, in his middle period, was the more controlled, stylistically rich, and gifted director,” Quart told JNS.org. “His works then seamlessly combined the comic and pathetic, with characters who had internal lives, and weren’t merely cartoons. Brooks is the more manic and anarchic, and he can provoke belly laughs that Allen rarely does. Both engage in social criticism, though Brooks’ use of pop culture makes his work broader and less subtle. For a time, these two Brooklyn products, who did stand-up comedy and wrote for Sid Caesar, were, albeit in different ways, the two best American directors of comedy.”
Born Allan Konigsberg in the Bronx and raised in Brooklyn (the son of Nettie, a bookkeeper at her family’s delicatessen, and Martin Konigsberg, a jewelry engraver and waiter), Allen’s parents were born and raised on the lower east side of Manhattan and his grandparents were German immigrants who spoke Yiddish. He pays homage to New York City in many of his films, including the critically acclaimed “Annie Hall,” “Manhattan” and “Hannah and Her Sisters.”
Bespeckled, diminutive, and neurotic, Allen makes many short lists of the most important comedy directors of all time. A writing, acting and directing triple threat, he has received 15 nominations for Academy Awards, winning three.
For years, Allen has managed to release one film annually, oscillating between brainy comedies and stark dramas, full of funny wordplay and incisive characterizations. According to Foster Hirsch, author of Love, Sex, Death and the Meaning of Life: The Films of Woody Allen, Allen carved out a unique place for himself in American movies, becoming our national auteur as well as the most prolific director in the country, and creating a singular world with each film released since his first in 1969.
Hirsch said he was drawn to Allen’s films when he saw “Annie Hall.” “Something about that film struck a nerve,” he told JNS.org. “In my work I usually avoid comedy but something about his New York Jewish humor I respond to. It’s very fresh.”
Allen’s Jewish background has a total impact on his work, Hirsch said.
“Everything he writes and acts and films has direct roots in a New York Jewish sensibility, which he presents to the world, and he then becomes an ambassador of that sensibility,” Hirsch said. “In literature Philip Roth would be a good equivalent. What does that mean? There are a litany of complaints, grievances, family trauma, the over-possessive mother and the distant father, the feelings of exclusion and inferiority. All of the angst associated with being Jewish is transformed in Woody Allen and lit by his radiant humor.”
Allen is typically inspired by European filmmakers. When “To Rome With Love” opened in June, he told Dave Itzkoff of the New York Times how profoundly Italian filmmakers influenced him.
“They invented a method of telling a story, and suddenly for us lesser mortals it becomes all right to tell a story that way,” Allen told Itzkoff. “We do our versions of them, never as shockingly innovative or brilliant as when the masters did them.”
Always serious about his art but never self-involved, Allen’s best work, like the masters he idolizes, touches deep human issues. Although rooted in a Jewish sensibility, his subjects are universal. For example, in Hirsch‘s favorite film, “Crimes and Misdemeanors,” the universal issue of self-forgiveness resonates.
“It’s about a person forgiving himself for committing a horrendous crime,” Hirsch told JNS.org. “This is the one film of his that has continuing resonance for me. I cannot get the Martin Landau character out of my mind.”
Additionally, Allen’s “schlemiel” character—the outsider, apparent loser, underdog, and person not part of the dominant culture—is indeed imprinted on our collective consciousness.
“With his figure of the schlemiel, Woody Allen has made a permanent contribution to the history of American film,” Hirsch said. “His artistry is inseparable from his Jewishness.”