In an homage to Bergman’s Wild Strawberries, Woody Allen leads an all-star cast in this dark comedy about a successful novelist suffering from writer’s block who is about to be honored by the university that once kicked him out.
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TV, rewatched. The weariness of a formula and yet, it was the last moment that Allen made his New York and his characters this way, before he got into the anodyne productive machine he became. The sequence in hell, for example, is a totally graceful moment.
Woody-Harry-Ken obsessed with women, all women, the neighbor, the saleswoman, the elevator girl, the sister-in-law, except his wife. Glory to ALLEN for this humor masterpiece about our dear male fantasy == Woody-Harry-Ken obsédé par les femmes, toutes les femmes, la voisine, la vendeuse, celle de l'ascenseur, la belle-soeur, sauf sa femme. Gloire à ALLEN pour ce chef d'oeuvre d'humour sur notre cher fantasme masculin
This is easily the best movie Woody Allen has done since he and Mia Farrow parted ways and his career started getting spotty. It has the wild comic invention of his early work and the sardonic wit he's known for is razor sharp here. Taking Ingmar Bergman's WILD STRAWBERRIES and rebuilding the concept as a comedy, this might be the last truly great film Woody Allen will make.
Muestra imprescindible de lo genial que puede llegar a ser el escrito contra el cine, un soundtrack a la medida y un Allen Preciso en cada historia siempre identificable a la forma de sentir la comedia en cada línea
Per me uno dei migliori Allen anni '90. La "sua" New York è una specie di delizioso microcosmo piena zeppa di pulsioni e nevrosi umane,con protagonisti adorabili anche nel loro essere odiosi e insopportabili. L'idea del fuori-fuoco è geniale,così come il parallelo omaggio al Bosco delle Fragole bergmaniano,naturalmente visto a mo di Woody. Un grande lavoro corale,di ottima fattura. Come sempre.