Ivan Passer’s first American film and his first in the English language is a core life-with-a-junkie tale in a cold Manhattan winter. George Segal is the ‘habituated, not addicted’ (he says) user whose married life has already been destroyed. Can he escape with the help of his new girlfriend? Hector Elizondo’s pimp/pusher has no intention of letting that happen. What’s weird is Passer’s frequently light tone — Segal’s criminal antics verge on the absurd. It’s a great film to see Karen Black, a young Robert De Niro and even Paula Prentiss in action, and yet another snapshot of Times Square in its most degraded decade.
Born to Win
Blu-ray
Fun City Editions
1971 / Color / 1:85 widescreen / 89 min. / Scraping Bottom / Street Date May 31, 2022 / Available from Vinegar Syndrome / 27.99, from Amazon / 34.99
Starring: George Segal, Karen Black, Paula Prentiss, Hector Elizondo, Jay Fletcher, Robert De Niro, Ed Madsen, Marcia Jean Kurtz,...
Born to Win
Blu-ray
Fun City Editions
1971 / Color / 1:85 widescreen / 89 min. / Scraping Bottom / Street Date May 31, 2022 / Available from Vinegar Syndrome / 27.99, from Amazon / 34.99
Starring: George Segal, Karen Black, Paula Prentiss, Hector Elizondo, Jay Fletcher, Robert De Niro, Ed Madsen, Marcia Jean Kurtz,...
- 4/30/2022
- by Glenn Erickson
- Trailers from Hell
Woody Allen’s breakthrough film is a finely observed romance, a surreal time-traveling autobiography and a stand-up comedy confessional. With the help of cinematographer Gordon Willis and editor Ralph Rosenblum, Allen juggles those disparate elements with the skill of a Houdini. Diane Keaton’s exquisitely flakey and funny performance was rewarded by the Academy who named her the Best Actress of 1977.
Here’s Bob Weide with more thoughts on Woody Allen.
The post Annie Hall appeared first on Trailers From Hell.
Here’s Bob Weide with more thoughts on Woody Allen.
The post Annie Hall appeared first on Trailers From Hell.
- 2/16/2022
- by TFH Team
- Trailers from Hell
Writer, director and actress Rebecca Miller discusses a few of her favorite films with hosts Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
Personal Velocity: Three Portraits (2002)
The Ballad Of Jack And Rose (2005)
The Private Lives Of Pippa Lee (2009)
Maggie’s Plan (2015)
Explorers (1985)
The Way We Were (1973)
Battleship Potemkin (1925)
Monsieur Hulot’s Holiday (1953)
Annie Hall (1977)
Repulsion (1965)
Rosemary’s Baby (1968)
Knife In The Water (1962)
The Tenant (1976)
Cries and Whispers (1972)
Persona (1966)
The Magician (1958)
Hour Of The Wolf (1968)
The Virgin Spring (1960)
The Seventh Seal (1957)
Abbott and Costello Meet Frankenstein (1948)
The Exorcist (1973)
The Shining (1980)
La Dolce Vita (1960)
Regarding Henry (1991)
Angela (1995)
Badlands (1973)
Casino (1995)
On The Waterfront (1954)
My Dinner with Andre (1981)
Jules and Jim (1962)
The Bitter Tears Of Petra von Kant (1972)
Wings Of Desire (1987)
The Killer Inside Me (1976)
The Killer Inside Me (2010)
Married To The Mob (1988)
Blue Velvet (1986)
Dune (1984)
Imitation Of Life (1934)
Imitation Of Life (1959)
Written On The Wind (1956)
Magnificent Obsession (1954)
All That Heaven Allows...
Show Notes: Movies Referenced In This Episode
Personal Velocity: Three Portraits (2002)
The Ballad Of Jack And Rose (2005)
The Private Lives Of Pippa Lee (2009)
Maggie’s Plan (2015)
Explorers (1985)
The Way We Were (1973)
Battleship Potemkin (1925)
Monsieur Hulot’s Holiday (1953)
Annie Hall (1977)
Repulsion (1965)
Rosemary’s Baby (1968)
Knife In The Water (1962)
The Tenant (1976)
Cries and Whispers (1972)
Persona (1966)
The Magician (1958)
Hour Of The Wolf (1968)
The Virgin Spring (1960)
The Seventh Seal (1957)
Abbott and Costello Meet Frankenstein (1948)
The Exorcist (1973)
The Shining (1980)
La Dolce Vita (1960)
Regarding Henry (1991)
Angela (1995)
Badlands (1973)
Casino (1995)
On The Waterfront (1954)
My Dinner with Andre (1981)
Jules and Jim (1962)
The Bitter Tears Of Petra von Kant (1972)
Wings Of Desire (1987)
The Killer Inside Me (1976)
The Killer Inside Me (2010)
Married To The Mob (1988)
Blue Velvet (1986)
Dune (1984)
Imitation Of Life (1934)
Imitation Of Life (1959)
Written On The Wind (1956)
Magnificent Obsession (1954)
All That Heaven Allows...
- 5/11/2021
- by Kris Millsap
- Trailers from Hell
The world trembles on the brink, and liberals are in charge! The nicest President you ever met gives the Soviet Premier an offer anybody could refuse, while technical glitches, not crazy people or radical politics, are blamed for starting WW3. Sidney Lumet’s taut, scary armageddon-outta-here thriller was weighed in the balance against a certain Stanley Kubrick film and found wanting, but unless you’re a stickler for technical details it really works up a buzz. The cast & crew list is a menu of committed liberal talent.
Fail Safe
Blu-ray
The Criterion Collection 1011
1964 / B&w / 1:85 widescreen / 112 min. / available through The Criterion Collection / Street Date January 28, 2020 / 39.95
Starring: Henry Fonda, Dan O’Herlihy, Walter Matthau, Frank Overton, Edward Binns, Fritz Weaver, Larry Hagman, William Hansen, Sorrell Booke, Hildy Parks, Janet Ward, Dom DeLuise, Dana Elcar.
Cinematography: Gerald Hirschfeld
Film Editor: Ralph Rosenblum
Written by Walter Bernstein from the book by Eugene Burdick,...
Fail Safe
Blu-ray
The Criterion Collection 1011
1964 / B&w / 1:85 widescreen / 112 min. / available through The Criterion Collection / Street Date January 28, 2020 / 39.95
Starring: Henry Fonda, Dan O’Herlihy, Walter Matthau, Frank Overton, Edward Binns, Fritz Weaver, Larry Hagman, William Hansen, Sorrell Booke, Hildy Parks, Janet Ward, Dom DeLuise, Dana Elcar.
Cinematography: Gerald Hirschfeld
Film Editor: Ralph Rosenblum
Written by Walter Bernstein from the book by Eugene Burdick,...
- 1/18/2020
- by Glenn Erickson
- Trailers from Hell
“This Is A Holdup?”
By Raymond Benson
Woody Allen’s very first directorial effort was the low budget, no frills Take the Money and Run, released in the summer of 1969 to an unsuspecting audience. While Allen was already somewhat familiar to the public via his numerous television talk show and stand-up appearances, as well as his small roles in three late-60s motion pictures, no one was quite prepared for the zany, nebbish onscreen persona that Allen debuted in Take the Money. It was a cinematic guise he would keep to the present day.
The intellectual Jewish nerd that Allen presented (here his character’s name is Virgil Starkwell) quickly became the guy whom we all thought Woody Allen really is. Some folks might have said, “Oh, he’s just playing himself.” Perhaps certain characteristics of the real Woody Allen may have been a part of Virgil Starkwell, or Fielding Mellish,...
By Raymond Benson
Woody Allen’s very first directorial effort was the low budget, no frills Take the Money and Run, released in the summer of 1969 to an unsuspecting audience. While Allen was already somewhat familiar to the public via his numerous television talk show and stand-up appearances, as well as his small roles in three late-60s motion pictures, no one was quite prepared for the zany, nebbish onscreen persona that Allen debuted in Take the Money. It was a cinematic guise he would keep to the present day.
The intellectual Jewish nerd that Allen presented (here his character’s name is Virgil Starkwell) quickly became the guy whom we all thought Woody Allen really is. Some folks might have said, “Oh, he’s just playing himself.” Perhaps certain characteristics of the real Woody Allen may have been a part of Virgil Starkwell, or Fielding Mellish,...
- 9/21/2017
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
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This week sees the 40th anniversary of Woody Allen’s Annie Hall so a career overview for the brilliant humorist/director seems in order.
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Take the Money and Run originally had a different ending that was cut by editor Ralph Rosenblum. What was it?
Woody is killed in a bloody gun ambush. Woody becomes president. Woody appears to tear a hole in the movie screen and “escapes” into the theater.
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This week sees the 40th anniversary of Woody Allen’s Annie Hall so a career overview for the brilliant humorist/director seems in order.
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Categories Not categorized 0% Your result has been entered into leaderboard Loading Name: E-Mail: Captcha: 1 2 3 4 5 6 7 8 9 10 Answered Review Question 1 of 10 1. Question
Take the Money and Run originally had a different ending that was cut by editor Ralph Rosenblum. What was it?
Woody is killed in a bloody gun ambush. Woody becomes president. Woody appears to tear a hole in the movie screen and “escapes” into the theater.
- 4/16/2017
- by TFH Team
- Trailers from Hell
Following his directorial debut, the 1967 Sonny and Cher vignette flick Good Times, director William Friedkin struggled through a couple of projects before landing his first really provocative title with 1970’s The Boys in the Band. Of course, following that would be The French Connection and so on and so forth. But prior to that, Friedkin helmed a period piece penned and produced by Norman Lear, The Night They Raided Minsky’s, which more or less depicts the accidental invention of stripping during the golden period of burlesque. Plagued by various production issues, including the death of Bert Lahr (you know him as the Cowardly Lion from The Wizard of Oz) during filming, the initial cut of the film was famously termed ‘disastrous,’ and the title would be retooled for nine months by editor Ralph Rosenblum and finally see release a year after production ended. While not quite charming or as...
- 2/24/2015
- by Nicholas Bell
- IONCINEMA.com
Everyone knows Woody Allen. At least, everyone thinks they know Woody Allen. His plumage is easily identifiable: horn-rimmed glasses, baggy suit, wispy hair, kvetching demeanor, ironic sense of humor, acute fear of death. As is his habitat: New York City, though recently he has flown as far afield as London, Barcelona, and Paris. His likes are well known: Bergman, Dostoevsky, New Orleans jazz. So too his dislikes: spiders, cars, nature, Wagner records, the entire city of Los Angeles. Whether or not these traits represent the true Allen, who’s to say? It is impossible to tell, with Allen, where cinema ends and life begins, an obfuscation he readily encourages. In the late nineteen-seventies, disillusioned with the comedic success he’d found making such films as Sleeper (1973), Love and Death (1975), and Annie Hall (1977), he turned for darker territory with Stardust Memories (1980), a film in which, none too surprisingly, he plays a...
- 1/24/2015
- by Graham Daseler
- The Moving Arts Journal
Despite fierce competition from sci-fi blockbuster "Star Wars" and fellow romantic comedy "The Goodbye Girl," Woody Allen's masterpiece "Annie Hall" walked away with Best Picture at the 50th Academy Awards, which were held on this day thirty-four years ago. And that's not all: Allen won Best Director and, alongside co-writer Marshall Brickman, Original Screenplay (although he lost Best Actor to Richard Dreyfuss), while Diane Keaton picked up Best Actress for the title role. One could argue that no out-and-out comedy has been so honored since (arguments could be made for "Shakespeare in Love" and "The Artist," but they're both as much drama as comedy).
With the anniversary in mind, we thought today was a good opportunity to shed light on a stone-cold classic. Below, you'll find five relatively obscure facts about "Annie Hall," and if that leaves you wanting more, you can read part one and part two of...
With the anniversary in mind, we thought today was a good opportunity to shed light on a stone-cold classic. Below, you'll find five relatively obscure facts about "Annie Hall," and if that leaves you wanting more, you can read part one and part two of...
- 4/3/2012
- by Oliver Lyttelton
- The Playlist
20th Century Home Entertainment continues to explore their library, releasing Blu-ray editions of popular and important films. Recently, two of Woody Allen’s best films were released and are worth a second look.
Allen as a comedian was a witty, smart writer and performer, coming from a literate line of humor that was in rapid decline by the 1960s. In some ways, he was the bridge between that era and today when men like Jon Stewart and Stephen Colbert carry the mantle. His early films were very funny and as a director, he was learning the ropes, figuring out what worked while entertaining the masses.
That culminated in Annie Hall, his 1977 serious comedy featuring his then-paramour Diane Keaton. The movie was a quantum leap in sophistication, partially from the smart script co-written with Marshall Brickman, but a most self-assured hand behind the camera. Allen shows a maturity as a filmmaker...
Allen as a comedian was a witty, smart writer and performer, coming from a literate line of humor that was in rapid decline by the 1960s. In some ways, he was the bridge between that era and today when men like Jon Stewart and Stephen Colbert carry the mantle. His early films were very funny and as a director, he was learning the ropes, figuring out what worked while entertaining the masses.
That culminated in Annie Hall, his 1977 serious comedy featuring his then-paramour Diane Keaton. The movie was a quantum leap in sophistication, partially from the smart script co-written with Marshall Brickman, but a most self-assured hand behind the camera. Allen shows a maturity as a filmmaker...
- 2/7/2012
- by Robert Greenberger
- Comicmix.com
Oscar-winning editor Jim Clark's hilarious memoir offers valuable insights into an often overlooked aspect of cinema
Numerous directors and a fair number of cinematographers have written autobiographies, but although there are useful books on the art and craft and editing, the only memoir I've come across by a film editor is the eye-opening When the Shooting Stops... the Cutting Begins by Ralph Rosenblum, the New York editor who saved Mel Brooks's The Producers and Woody Allen's Annie Hall from catastrophe. It appeared in 1979, and towards the end of it Rosenblum says of his trade: "The profession selects in favour of caution, timidity, self-abnegation, tact, 'a diplomacy', says British editor James Clark, 'which would normally put us straight into parliament'." Now in retirement, Jim Clark has put aside his diplomacy to write a revealing, funny, devastatingly frank account of a lifetime spent editing film.
Unlike many people in films,...
Numerous directors and a fair number of cinematographers have written autobiographies, but although there are useful books on the art and craft and editing, the only memoir I've come across by a film editor is the eye-opening When the Shooting Stops... the Cutting Begins by Ralph Rosenblum, the New York editor who saved Mel Brooks's The Producers and Woody Allen's Annie Hall from catastrophe. It appeared in 1979, and towards the end of it Rosenblum says of his trade: "The profession selects in favour of caution, timidity, self-abnegation, tact, 'a diplomacy', says British editor James Clark, 'which would normally put us straight into parliament'." Now in retirement, Jim Clark has put aside his diplomacy to write a revealing, funny, devastatingly frank account of a lifetime spent editing film.
Unlike many people in films,...
- 7/28/2011
- by Philip French
- The Guardian - Film News
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