1988 - Dir.: Guiseppe Tomatore
Shown at The FeckenOdeon on March 23rd, 2002
Programme notes are almost superfluous for this month's top of the bill. The following quote from an American critic says it all:
"If you love movies, it's impossible not to appreciate "Cinema Paradiso", Giuseppe Tornatore's heart-warming, nostalgic look at one man's love affair with film, and the story of a very special friendship. Affecting (but not cloying) and sentimental (but not sappy), "Cinema Paradiso" is the kind of motion picture that can brighten up a gloomy day and bring a smile to the lips of the most taciturn individual. Light and romantic, this fantasy is tinged with just enough realism to make us believe in its magic, even as we are enraptured by its spell. This film is sometimes funny, sometimes joyful, and sometimes poignant, but it's always warm, wonderful, and satisfying."
The film was made in the director's home village of Bagheria on the island of Sicily, many of the locals appear as extras and bit part players and the story is thought to be part autobiographical. The distributors are issuing a "Director's Cut"* version this summer (2002) - with 45 minutes of unseen material added. It's hard to see how this will improve what many consider to be an almost perfect film. The music is by Ennio Moriconne - taking a break from spaghetti westerns and epics to prove that he capable of a more lyrical approach.
*Released in the USA at 170 minutes but never seen in the UK
Sunday, 9 August 2009
The Son of the Sheik
1926 - Dir: George Fitzmaurice
Shown at The FeckenOdeon on February 23rd, 2002
"A charming adventure comedy of playful sex and violence" "An eye feast of virile action with colorful settings and glowing climaxes". "The very picture for which the world's wife, mother and daughter have been waiting" - The quotes are from contemporary reviews of the smash hit of 1926. The plot concerns the son of the Sheik of the title who is in love with a half French dancer.... but that trivial detail had little to do with the frenzy - this was the latest and greatest appearance of the first international male sex symbol in the form of Rudolph Valentino. Valentino plays both the Sheik and the Son. Born as Rodolfo Alfonzo Raffaelo Pierre Filibert Guglielmi di Valentina d'Antonguolla in Castellaneta, Italy, the young Rudolph had worked as landscape gardener, dishwasher, waiter, gigolo and exotic dancer. He was spotted by screen writer June Mathis and shot to stardom in "The Four Horsemen of the Apocalypse" in 1921. "The Sheik" (one of the five pictures he made in 1921) established his image as an erotic lover and this follow up, five years later, was the peak of a career that seemed to be set to run and run. Sadly, on 23rd August 1926 Valentino died of a perforated ulcer. He was as successful in death as he had been alive - 80,000 mourners caused a near riot at his New York funeral so a second funeral was staged in California.
Valentino's co-star was the Hungarian Vilma Banky. She had starred in a series of Hungarian and German films until Samuel Goldwyn brought her to Hollywood. Ms Banky spoke no English so Goldwyn taught her a phrase to use whenever she spoke to reporters - "Lamp chops and pineapple". We have no record of her reaction when she found out the deception but she was known as a "strong character". She made her last film in 1931 but continued to play a mean round of golf until her death at the age of 93 in 1991.
Shown at The FeckenOdeon on February 23rd, 2002
"A charming adventure comedy of playful sex and violence" "An eye feast of virile action with colorful settings and glowing climaxes". "The very picture for which the world's wife, mother and daughter have been waiting" - The quotes are from contemporary reviews of the smash hit of 1926. The plot concerns the son of the Sheik of the title who is in love with a half French dancer.... but that trivial detail had little to do with the frenzy - this was the latest and greatest appearance of the first international male sex symbol in the form of Rudolph Valentino. Valentino plays both the Sheik and the Son. Born as Rodolfo Alfonzo Raffaelo Pierre Filibert Guglielmi di Valentina d'Antonguolla in Castellaneta, Italy, the young Rudolph had worked as landscape gardener, dishwasher, waiter, gigolo and exotic dancer. He was spotted by screen writer June Mathis and shot to stardom in "The Four Horsemen of the Apocalypse" in 1921. "The Sheik" (one of the five pictures he made in 1921) established his image as an erotic lover and this follow up, five years later, was the peak of a career that seemed to be set to run and run. Sadly, on 23rd August 1926 Valentino died of a perforated ulcer. He was as successful in death as he had been alive - 80,000 mourners caused a near riot at his New York funeral so a second funeral was staged in California.
Valentino's co-star was the Hungarian Vilma Banky. She had starred in a series of Hungarian and German films until Samuel Goldwyn brought her to Hollywood. Ms Banky spoke no English so Goldwyn taught her a phrase to use whenever she spoke to reporters - "Lamp chops and pineapple". We have no record of her reaction when she found out the deception but she was known as a "strong character". She made her last film in 1931 but continued to play a mean round of golf until her death at the age of 93 in 1991.
A Private Function
1985 - Dir: Malcolm Mowbray
Shown at The FeckenOdeon on January 26th, 2002
You'll never be able to look a pork scratching in the same light after this piece of British whimsy. The world of Alan Bennett could hardly be further away from the highly charged atmosphere of a Hitchcock film - but there is tension here. "Will he or won't he?" is the question throughout the film. Magpie Smith powers her way through all obstacles, Michael Palin proves that he can act, Liz Smith charms us with yet another dotty old lady - BUT it's the pig that matters. "It's not just pork, it's power!!" Three porcine thespians were used to play "Betty" and, even on a good day, it took upwards of 15 takes to get the animals to do what was required of them. Human actors would rehearse with a stuffed pig and then hope that the real thing would be just as co-operative.
Bennett had written much for the small screen but this was his first effort for the movies. More recently he's adapted Joe Orton's biography "Prick up Your Ears" and his own stage play "The Madness of King George".
Shown at The FeckenOdeon on January 26th, 2002
You'll never be able to look a pork scratching in the same light after this piece of British whimsy. The world of Alan Bennett could hardly be further away from the highly charged atmosphere of a Hitchcock film - but there is tension here. "Will he or won't he?" is the question throughout the film. Magpie Smith powers her way through all obstacles, Michael Palin proves that he can act, Liz Smith charms us with yet another dotty old lady - BUT it's the pig that matters. "It's not just pork, it's power!!" Three porcine thespians were used to play "Betty" and, even on a good day, it took upwards of 15 takes to get the animals to do what was required of them. Human actors would rehearse with a stuffed pig and then hope that the real thing would be just as co-operative.
Bennett had written much for the small screen but this was his first effort for the movies. More recently he's adapted Joe Orton's biography "Prick up Your Ears" and his own stage play "The Madness of King George".
The Boyfriend
1971 - Dir: Ken Russell
Shown at The FeckenOdeon on 29th December, 2001
A tuneful, glittering and downright daft movie! Sandy Wilson's flapper musical "The Boy Friend" has long been a stalwart of the amateur operatic society circuit. Ken Russell gives it a kick and a shove and proves how very good the old war-horse can be. His version is colourful, lively, touching and hilarious - and owes a good deal to the spectacular ideas of Busby Berkeley. Casting Twiggy in the lead was bound to be a calculated risk but her inexperience in the acting field pays dividends and makes her portrayal of the nervous and naive Polly totally believable. Playing opposite her is Christopher Gable - his only big screen appearance - who went on to found the renowned Northern Ballet Theatre. The rest of the cast is made up of a galaxy of British character actors - Max Adrian, Georgina Hale, and Barbara Windsor among them. Glenda Jackson makes an uncredited appearance as the big star who can't go on because of a little accident involving a tram. A superb orchestration and gutsy performance of Wilson's music by Peter Maxwell-Davies makes this one of the few truly memorable British big screen musicals.
Shown at The FeckenOdeon on 29th December, 2001
A tuneful, glittering and downright daft movie! Sandy Wilson's flapper musical "The Boy Friend" has long been a stalwart of the amateur operatic society circuit. Ken Russell gives it a kick and a shove and proves how very good the old war-horse can be. His version is colourful, lively, touching and hilarious - and owes a good deal to the spectacular ideas of Busby Berkeley. Casting Twiggy in the lead was bound to be a calculated risk but her inexperience in the acting field pays dividends and makes her portrayal of the nervous and naive Polly totally believable. Playing opposite her is Christopher Gable - his only big screen appearance - who went on to found the renowned Northern Ballet Theatre. The rest of the cast is made up of a galaxy of British character actors - Max Adrian, Georgina Hale, and Barbara Windsor among them. Glenda Jackson makes an uncredited appearance as the big star who can't go on because of a little accident involving a tram. A superb orchestration and gutsy performance of Wilson's music by Peter Maxwell-Davies makes this one of the few truly memorable British big screen musicals.
M.Hulot's Holiday
Les Vacances de M.Hulot
1953 - Dir: Jaques Tati
Shown at the FeckenOdeon on 24th November, 2001 and on 30th April, 2011
Jaques Tati (or Tatischeff to give him his real name) learnt his craft on the music-hall circuit in the 1930s. He was often seen this side of the channel with his famous tennis-player act (part of which is shown in tonight's film). Tati always insisted on being in full charge of his material and performance and, though his output is relatively modest (6 features and 10 shorts), he is regarded as one of the master craftsmen of the silver screen.
This film is Tati's second feature. It took over two years to make and stars almost the entire population of the seaside resort of Saint-Marc-sur-Mere. The director preferred using "real people" rather than actors for most of the supporting roles. The hotel was a real hotel - an artificial entrance was constructed for the filming and caused endless confusion amongst hotel guests and staff alike.
This is the first appearance of Tati's chaotic and bumbling Monsieur Hulot. Tati's acute observation and immaculate timing make him at once hilarious and sympathetic. The character enjoyed another three outings and earned his creator an Oscar in 1959.
Oddly for a film without words, there was great praise for the use of sound in "M.Hulot's Holiday" - one critic called it "the greatest event in the history of sound film"
1953 - Dir: Jaques Tati
Shown at the FeckenOdeon on 24th November, 2001 and on 30th April, 2011
Jaques Tati (or Tatischeff to give him his real name) learnt his craft on the music-hall circuit in the 1930s. He was often seen this side of the channel with his famous tennis-player act (part of which is shown in tonight's film). Tati always insisted on being in full charge of his material and performance and, though his output is relatively modest (6 features and 10 shorts), he is regarded as one of the master craftsmen of the silver screen.
This film is Tati's second feature. It took over two years to make and stars almost the entire population of the seaside resort of Saint-Marc-sur-Mere. The director preferred using "real people" rather than actors for most of the supporting roles. The hotel was a real hotel - an artificial entrance was constructed for the filming and caused endless confusion amongst hotel guests and staff alike.
This is the first appearance of Tati's chaotic and bumbling Monsieur Hulot. Tati's acute observation and immaculate timing make him at once hilarious and sympathetic. The character enjoyed another three outings and earned his creator an Oscar in 1959.
Oddly for a film without words, there was great praise for the use of sound in "M.Hulot's Holiday" - one critic called it "the greatest event in the history of sound film"
Carry On Spying
1964 - Dir: Gerald Thomas
Shown at The FeckenOdeon on October 20th, 2001
"Carry On Spying" is regarded as one of the funniest in the series. The music is intentionally reminiscent of the zither theme from "The Third Man" and there are many references made to this film - hardly surprising when you learn that director Gerald Thomas had been Assistant Editor on Reed's classic. The film also alludes to the sixties smash hit series of Bond films.
Barbara Windsor makes her Carry On debut as Daphne Honeybutt whose talents include a photographic memory, a complete imperviousness to pain... and a large chest. Barbara came direct from Joan Littlewood's Theatre Workshop and had appeared in TV's "The Rag Trade". Bernard Breslaw is reputed to have been struck by "plastic bullets" during the filming and vowed never to appear in another Carry On - a vow destined to be broken time and time again.
The usual Carry On crew (minus Hattie Jaques on this occasion) play with a freshness that is lacking in the later films (this was the ninth) and the film rattles through a catalogue of quick fire gags and clever visuals like a dose of salts (Ooh Matron!!).
Shown at The FeckenOdeon on October 20th, 2001
"Carry On Spying" is regarded as one of the funniest in the series. The music is intentionally reminiscent of the zither theme from "The Third Man" and there are many references made to this film - hardly surprising when you learn that director Gerald Thomas had been Assistant Editor on Reed's classic. The film also alludes to the sixties smash hit series of Bond films.
Barbara Windsor makes her Carry On debut as Daphne Honeybutt whose talents include a photographic memory, a complete imperviousness to pain... and a large chest. Barbara came direct from Joan Littlewood's Theatre Workshop and had appeared in TV's "The Rag Trade". Bernard Breslaw is reputed to have been struck by "plastic bullets" during the filming and vowed never to appear in another Carry On - a vow destined to be broken time and time again.
The usual Carry On crew (minus Hattie Jaques on this occasion) play with a freshness that is lacking in the later films (this was the ninth) and the film rattles through a catalogue of quick fire gags and clever visuals like a dose of salts (Ooh Matron!!).
The Third Man
1949 - Dir: Carol Reed
Shown at The FeckenOdeon on October 20th, 2001.
It's unlikely that there has ever been a film where the music more perfectly suited the action than Carol Reeds "The Third Man". Anton Karas was discovered by Trevor Howard in a Vienna bar. The haunting chords of Karas' "Harry Lime Theme" draw us into the unreal, shattered world of post war Vienna. A city divided into French, Russian, American and British zones. Joseph Cotton as Holly Martin arrives in Vienna to meet his college friend Harry Lime - but Harry is dead.... or is he? "The Third Man" was made by men who knew the devastation of Europe at first hand. Carol Reed worked for the British Army's wartime documentary unit and the screenplay was by Graham Greene, who not only wrote about spies but occasionally acted as one. The film was shot entirely on location in Vienna amid the mountains of rubble and the gaping bomb craters. It's a world where even the truth is false and trust is a dream no-one dares hope for.
Shown at The FeckenOdeon on October 20th, 2001.
It's unlikely that there has ever been a film where the music more perfectly suited the action than Carol Reeds "The Third Man". Anton Karas was discovered by Trevor Howard in a Vienna bar. The haunting chords of Karas' "Harry Lime Theme" draw us into the unreal, shattered world of post war Vienna. A city divided into French, Russian, American and British zones. Joseph Cotton as Holly Martin arrives in Vienna to meet his college friend Harry Lime - but Harry is dead.... or is he? "The Third Man" was made by men who knew the devastation of Europe at first hand. Carol Reed worked for the British Army's wartime documentary unit and the screenplay was by Graham Greene, who not only wrote about spies but occasionally acted as one. The film was shot entirely on location in Vienna amid the mountains of rubble and the gaping bomb craters. It's a world where even the truth is false and trust is a dream no-one dares hope for.
The Smallest Show on Earth
1957 - Dir.: Basil Dearden
Shown at The FeckenOdeon on 29th September, 2001 - our opening show.
When a young couple from the Home Counties (Virginia McKenna and Bill Travers) unexpectedly inherit a cinema in the north they assume it to be the town's new showpiece theatre. When they arrive to inspect their property they find that it is in fact the "Bijou" - a falling apart museum piece of a picture house with a few falling apart museum pieces working in it. Margaret Rutherford as Mrs.Fazackerly rules the box office, Peter Sellers' drunken projectionist clings desperately to his wobbly equipment while Bernard Miles (as Old Tom the doorman) pines for a proper uniform. Director Basil Dearden treats his subject with humour and respect and the result is a funny, bitter sweet tribute to a bygone age of film going. The Bijou was the model for the first "Night at the Pictures" in Feckenham "Seats in all parts"!
Shown at The FeckenOdeon on 29th September, 2001 - our opening show.
When a young couple from the Home Counties (Virginia McKenna and Bill Travers) unexpectedly inherit a cinema in the north they assume it to be the town's new showpiece theatre. When they arrive to inspect their property they find that it is in fact the "Bijou" - a falling apart museum piece of a picture house with a few falling apart museum pieces working in it. Margaret Rutherford as Mrs.Fazackerly rules the box office, Peter Sellers' drunken projectionist clings desperately to his wobbly equipment while Bernard Miles (as Old Tom the doorman) pines for a proper uniform. Director Basil Dearden treats his subject with humour and respect and the result is a funny, bitter sweet tribute to a bygone age of film going. The Bijou was the model for the first "Night at the Pictures" in Feckenham "Seats in all parts"!
Duck Soup
1933 - Dir.: Leo McCarey
Shown at The FeckenOdeon on September 29th, 2001 - our opening film.
"Duck Soup" is a fast moving anarchic satire. It lampoons the posturing of blundering dictators, fascism and authoritarian government. It proved a hot political potato for Paramount in the nervous period before WW2 - Mussolini banned it outright in Italy. The plot sees Groucho as Rufus T. Firefly ingratiating himself with Margaret Dumont's bewildered Mrs Teasdale - and into the Presidency of Freedonia. Chico, Harpo and (in his last film) Zeppo do their best to make the wheels of diplomacy run erratically and Raquel Torres vamps it as a sultry Mata Hari. That governments could be provoked to fury by the later part of the film where the brothers point up the futility of war just goes to prove their point!
"I could dance with you 'til the cows come home....
On second thoughts, I could dance with the cows 'til you get home"
Shown at The FeckenOdeon on September 29th, 2001 - our opening film.
"Duck Soup" is a fast moving anarchic satire. It lampoons the posturing of blundering dictators, fascism and authoritarian government. It proved a hot political potato for Paramount in the nervous period before WW2 - Mussolini banned it outright in Italy. The plot sees Groucho as Rufus T. Firefly ingratiating himself with Margaret Dumont's bewildered Mrs Teasdale - and into the Presidency of Freedonia. Chico, Harpo and (in his last film) Zeppo do their best to make the wheels of diplomacy run erratically and Raquel Torres vamps it as a sultry Mata Hari. That governments could be provoked to fury by the later part of the film where the brothers point up the futility of war just goes to prove their point!
"I could dance with you 'til the cows come home....
On second thoughts, I could dance with the cows 'til you get home"
Saturday, 8 August 2009
A Hard Day's Night
1964 - Dir: Dick Lester
Shown in FeckenOdeon 2 on August 8th, 2009
When "A Hard Day’s Night" was released in 1964, The Beatles had just made it into the big time. After barely a year of national existence, they had become a phenomenon. The film begins with girls chasing them, ends with girls chasing them, and has many moments of, well, girls chasing them.
Director Dick Lester tried hard to avoid turning this into "Carry On Up The Beatles" despite pressure from the somewhat conservative British studio system. He managed to avoid the traditional soppy and contrived plot but he got stuck with some cliches - notably Victor Spinnetti’s camp TV director worrying that the mop tops won’t turn up on time - we all know that they will but everybody dutifully goes through the motions. Mr Lester, already an old hand on TV commercials, directs inventively, using documentary techniques, speeded-up action, jump editing, even occasional surrealism - so much so that the distributors sent the first print back because they thought there was something wrong with it. It was all received very enthusiastically and Mr Lester’s style became the norm for music movies - though it has to be noted that he’d had a big flop a year earlier using the same techniques in "It’s Trad Dad" which had been intended to propel Helen Shapiro into the Hollywood big league... oops!
London in the first half of the 1960s seems very different. So many policemen on the beat. Such smartly turned-out teenagers, the girls in neat skirts, the boys wearing ties. Keep your eyes peeled and you may even spot a young Phil Collins among the fans. This is also the film that gave the world the word 'grotty' and, if you don’t blink, you’ll see the first blatant big screen flash of the word "t*ts"
When "A Hard Day’s Night" was released in 1964, The Beatles had just made it into the big time. After barely a year of national existence, they had become a phenomenon. The film begins with girls chasing them, ends with girls chasing them, and has many moments of, well, girls chasing them.
Director Dick Lester tried hard to avoid turning this into "Carry On Up The Beatles" despite pressure from the somewhat conservative British studio system. He managed to avoid the traditional soppy and contrived plot but he got stuck with some cliches - notably Victor Spinnetti’s camp TV director worrying that the mop tops won’t turn up on time - we all know that they will but everybody dutifully goes through the motions. Mr Lester, already an old hand on TV commercials, directs inventively, using documentary techniques, speeded-up action, jump editing, even occasional surrealism - so much so that the distributors sent the first print back because they thought there was something wrong with it. It was all received very enthusiastically and Mr Lester’s style became the norm for music movies - though it has to be noted that he’d had a big flop a year earlier using the same techniques in "It’s Trad Dad" which had been intended to propel Helen Shapiro into the Hollywood big league... oops!
London in the first half of the 1960s seems very different. So many policemen on the beat. Such smartly turned-out teenagers, the girls in neat skirts, the boys wearing ties. Keep your eyes peeled and you may even spot a young Phil Collins among the fans. This is also the film that gave the world the word 'grotty' and, if you don’t blink, you’ll see the first blatant big screen flash of the word "t*ts"
Saturday, 18 April 2009
Keeping Mum
2005 - Dir: Niall Johnson
Shown at The FeckenOdeon on 25th April, 2009
Adapted seamlessly from its original American setting by writer/director Niall Johnson (novelist Richard Russo penned the initial script), Keeping Mum manages to be both reassuringly familiar and surprisingly fresh. "Waking Ned" meets "Kind Hearts and Coronets". Apart from the witty script, the secret to its success lies in its offbeat casting. Scott Thomas loosens her stiff upper lip and clearly relishes playing Gloria Goodfellow, a wife and mother who's thinking about playing around with a sleazy golf instructor (Patrick Swayze) and abandoning her inert husband Walter (Rowan Atkinson), the vicar of Little Wallop (don't worry, nothing else is quite so twee). If she's the main draw, there's also a comedy masterclass to behold from Maggie Smith. The redoubtable screen veteran combines the sweetness of a doting grandmother with looks that kill and hilariously bloodthirsty solutions to everyday problems such as school bullies and yappy dogs. Mainstream British comedies are notoriously difficult to get right - too often they're simply poor copies of Hollywood pap - which is why Keeping Mum really is something to shout about.
"There is a British tradition of darkness in comedy which we haven’t seen for some time and in many ways the pleasantness and the appealing nature of the characters when it turns out that they are concealing dark secrets, is in many ways even more shocking. What drew me to the script was that it had a great tone to it. It was very gentle and definitely comic; but comedy with a much greater subtlety than I am normally associated with. Walter is a very three-dimensional character, and the script has just got a lovely, slightly dark tone to it." Rowan Atkinson
Adapted seamlessly from its original American setting by writer/director Niall Johnson (novelist Richard Russo penned the initial script), Keeping Mum manages to be both reassuringly familiar and surprisingly fresh. "Waking Ned" meets "Kind Hearts and Coronets". Apart from the witty script, the secret to its success lies in its offbeat casting. Scott Thomas loosens her stiff upper lip and clearly relishes playing Gloria Goodfellow, a wife and mother who's thinking about playing around with a sleazy golf instructor (Patrick Swayze) and abandoning her inert husband Walter (Rowan Atkinson), the vicar of Little Wallop (don't worry, nothing else is quite so twee). If she's the main draw, there's also a comedy masterclass to behold from Maggie Smith. The redoubtable screen veteran combines the sweetness of a doting grandmother with looks that kill and hilariously bloodthirsty solutions to everyday problems such as school bullies and yappy dogs. Mainstream British comedies are notoriously difficult to get right - too often they're simply poor copies of Hollywood pap - which is why Keeping Mum really is something to shout about.
"There is a British tradition of darkness in comedy which we haven’t seen for some time and in many ways the pleasantness and the appealing nature of the characters when it turns out that they are concealing dark secrets, is in many ways even more shocking. What drew me to the script was that it had a great tone to it. It was very gentle and definitely comic; but comedy with a much greater subtlety than I am normally associated with. Walter is a very three-dimensional character, and the script has just got a lovely, slightly dark tone to it." Rowan Atkinson
The Purple Rose of Cairo
1985 - Dir: Woody Allen
Shown at The FeckenOdeon on 25th April, 2009
A delightful tale centred on how cinema can change lives, if only when the lights are down, Woody Allen combines romance with intelligence to great comic effect. Cranking out just about a film a year, Woody Allen is easy to take for granted, especially recently, as quantity seems to be winning the battle over quality. He could be said to have entered an extended bad patch with a flurry of mediocre work, ranging from horrid miscalculation ("Small Time Crooks," "Hollywood Ending") to sub-average romantic comedy ("Anything Else"). It's easy to overlook his great films - and "The Purple Rose of Cairo" is the most overlooked of his great films. Of the 33 features Allen has directed, it's one of the few in which he didn't appear, and the one he calls his favourite. At 84 minutes, it's short but nearly every one of those minutes is blissful. So sit back, relax and imagine how you’d feel if you favourite movie star stepped down from the screen and asked you to run away with him/her* (*delete as appropriate).
Shown at The FeckenOdeon on 25th April, 2009
A delightful tale centred on how cinema can change lives, if only when the lights are down, Woody Allen combines romance with intelligence to great comic effect. Cranking out just about a film a year, Woody Allen is easy to take for granted, especially recently, as quantity seems to be winning the battle over quality. He could be said to have entered an extended bad patch with a flurry of mediocre work, ranging from horrid miscalculation ("Small Time Crooks," "Hollywood Ending") to sub-average romantic comedy ("Anything Else"). It's easy to overlook his great films - and "The Purple Rose of Cairo" is the most overlooked of his great films. Of the 33 features Allen has directed, it's one of the few in which he didn't appear, and the one he calls his favourite. At 84 minutes, it's short but nearly every one of those minutes is blissful. So sit back, relax and imagine how you’d feel if you favourite movie star stepped down from the screen and asked you to run away with him/her* (*delete as appropriate).
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