Dan Schneider: Now, the book ends with the last couple of decades of Woody’s cinematic output. You have it divided into a last two eras. What are the two eras? Give me a film, pro or con, that you think is the most representative, the best, the most interesting, what critics… whichever one jumps right out at you. So what are the last two Woody eras that you tackle?
Alex Sheremet: The last two eras are 1993 until 2004, so that’s the films between Bullets Over Broadway…No, Manhattan Murder Mystery and Melinda and Melinda. And then I go from Match Point in 2005, up until 2013’s Blue Jasmine. Looking at the first time period, that film that I want to talk about most is Celebrity. This is because this is a film that’s been pretty much ignored, it’s been neglected, and in many ways it’s been much more panned, even, than Stardust Memories, or Another Woman, or similar films. It has not necessarily had this kind of revitalization like some other films might have, and it’s… I wouldn’t call it a great film. It’s not up to par with his best work, but at the very least, I would argue that it is an excellent film. It’s an excellent film for the very reasons that people deride it for. For example, you have the character of Simon, through Kenneth Branagh, and he’s been derided as this really poor Woody Allen stand-in, that he’s merely doing the Woody Allen shtick in a way that Woody Allen wouldn’t be able to do.
But this is kind of the point. If you look at his appearance, he is clearly more handsome than Woody Allen, he looks more manly than Woody Allen, and he’s somebody that would much more easily fit into this kind of celebrity life than Woody Allen would. If you see, for example, the flirt scenes that he has with various women, if you see him going around with different models… these are not things that Woody Allen would be able to pull off, himself, because if he were to do it, it would look like mere comedy. And it would look like mere comedy because here’s this nebbish that has these glasses and just looks so awkward and just acts so awkward. There is no sense of genuine romance, there is no sense that this is a realistic move for this kind of human being to make. But with Woody Allen’s stand-in, as he’s being called, he does a very good job. He’s very realistic in that role, and these are all pluses. This is not the negative that it’s been made out to be. A close viewing of the film without allowing Woody Allen … Continue reading →