Woody Allen’s Top 10 Films, Analyzed And Explained

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Woody Allen's Top 10 Films

Woody Allen: Reel To Real, via Take2 Publishing

Today marks the release of Woody Allen: Reel To Real, which is, as of this writing, the most comprehensive book on Woody Allen ever published. Poet and critic Dan Schneider, of Cosmoetica fame, has called it a “seminal” and “revolutionary” book, a book that ought to change the way people talk and think about film. I hope that you’ll agree, if not with some of my interpretations, then at least with the tools Reel To Real provides — tools that can be applied to the art world as a whole, for greatness (as Schneider has argued) is its own company, and what works or fails in one place can be extrapolated into another, from film to film, art-work to art-work, and to the kinds of stories people like to tell.

In short, the book covers every movie that Woody Allen has ever written, directed, or otherwise acted in, with preference given to the material from Annie Hall onward, and especially to neglected masterpieces such as Stardust Memories, Interiors, and Another Woman. Thus, I take a film-first approach, with detailed analyses and 100s of references spread across ~160,000 words on art-centered writing. Yet the book also features a dialogue between the writer and reader, a huge chapter dissecting 6 major critics of Woody Allen (read it here, in full), a fiery exchange between me and Jonathan Rosenbaum, perpetual updates to the e-book via a ‘sync’ system whenever a new Woody film is released, and a final chapter wherein — after much praise, from me! — I finally take Woody Allen to task on his influences, opinions, and general philosophy. In short, no one gets off easy, because, just as Judah is told in Crimes And Misdemeanors, ‘the truth will out.’ Except, in this case, it’s not mere naïveté, and I’ve got the hammer.

Anyway, to celebrate the release of Woody Allen: Reel To Real, I’ve decided to compile a list of Woody Allen’s top 10 films, and explain my reasons in depth. Note that while there are some films, below, that can legitimately be knocked up or down a few spots, they all have at least SOME claim to artistic greatness, if not being indisputably so. So, despite Jonathan Rosenbaum’s claims, to me, a 40-minute fluff-piece like Oedipus Wrecks simply does not belong here. And, conversely — and critical negligence aside! — a well-written, well-filmed, and well-scored opus like Another Woman does. And now that at least some of my reasoning is clear, let us begin with the list proper!

 

Woody Allen’s Top 10 Films

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Woody Allen's Top 10 Films Stardust Memories1. Stardust Memories (1980)

I respect the reader, and so won’t waste time by forcing anyone to scroll to the very bottom of this page to see my top Woody pick. It’s not merely annoying, but would occlude a great film, a film that deserves the #1 spot, and needs to be watched without … Continue reading →

Review Of Gayl Jones’s “The Healing”

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Gayl Jones

Gayl Jones, via University Of Michigan

In brief, Gayl Jones’s The Healing is not a book of many faults. Rather, it’s a book of a few monstrous faults repeated ad nauseum on almost every page. I haven’t read Jones’s other novels such as the lauded Corregidora and Eva’s Man, so, to be fair, I won’t comment on her talent as a whole, but stick to the clichés, ill-wrought dialogue, bloated, pointless description, and intellectual dearth specific to the novel at hand.

At the very least, I know Gayl Jones’s other novels are very different stylistically, which means, if she does lack quality, she might still have some diversity across her work. Thus, it’s probably not so much that Jones is talentless as she is lazy. And perhaps that’s the worst misdeed writers commit. A lack of talent is nobody’s fault and making fun of well-meaning passion is a bit cruel, even if accurate. Pure laziness, however, disrespects both writer and reader – I don’t want, for example, an artist to think me stupid enough to assume there is a reason behind every little miscalculation, the demesne and crutch of bad writers who use bad philosophy to justify bad art. Consider, for instance, the specifics of the plot. Harlan Eagleton, a folk healer, manages a minor but respected rock star named Joan Savage, travels all over the world, has affairs, and offers small observations about pretty much everything imaginable. She is eventually stabbed for “betrayal” by her former rock star. In a way, then, its peculiarities of detail and structure are similar to Jonathan Safran Foer’s Everything Is Illuminated, but while that book often makes good use of dialogue, irony, humor, and juxtaposition to talk about a familiar subject, the holocaust, in a unique way, The Healing simply drowns in details neither deep nor evocative. I suppose, then, the philosophical justification for such pap is the postmodern obsession with “multiple perspectives,” as Jones, in a way, does just that. She discusses, sometimes for pages on end, every little thing a character says or comes across, but reveals nothing in the process, not in the substance, and not in the construction. In fact, it’s the most obvious fault of the book – its utter pointlessness not only from page to page, but how little it actually says as a whole.

A couple of examples will suffice. The first paragraph, a bit over a page, sets the tone:

I open a tin of Spirit of Scandinavia sardines, floating in mustard sauce. The woman on the bus beside me grunts and leans toward the aisle. She’s a smallish, youngish, short-haired woman, small Gypsy earrings in her ears, looks kinda familiar. I offer her some of them sardines, but she grunts and leans farther toward the aisle. I nibble the sardines with one of those small plastic forks and stare out the window. The sun hitting the window makes a rainbow across a field of straw pyramids. There’s a few horses and … Continue reading →

No More Ghettos: On The Death Of James Emanuel, Poet

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James Emanuel, (c) SAMBG MYA Photography, via Entree to Black Paris

James Emanuel, (c) SAMBG MYA Photography, via Entree to Black Paris

In Confucian philosophy, there is a passage called Ta Tung, or “The Great Harmony,” which describes the ideal relation between things: that the best leaders are elected, wealth is shared and not left idle, and every man, woman, and child belongs to each other — and to itself. On my way to work, I often stop by a large statue of Confucius off the Bowery, in which this passage is emblazoned. There, one finds a multitude of trees growing up from stone, and flowers in the spring and green all summer. Yet not once did I ever see a Chinese person stand beside me and gaze at the man, much less read the inscription, for to the Chinese, he has become a kind of furniture, and the Chinese (at least here) live in a ghetto of their own construct.

The poet James A. Emanuel died on September 28th, 2013. The last few days, I’ve stopped at this statue a bit more often than usual. I’ve read the inscription carefully; I’ve tried to feel what it means to not regard oneself as “merely” oneself — as the words seem to exhort — but as part of something extraneous to it, something unnecessary, unimportant. Perhaps this is because I’ve been having trouble at my job and needed to stabilize. Or perhaps it is because, with James Emanuel more and more on my mind, now, I’ve realized that the content of those words was actually the content of his own life’s work: to keep the world from getting stuck on itself — that is, in its own skin, its own ghetto — and to bring it out of the enclosure.

Like many young writers, I’d first discovered James Emanuel’s poetry through Cosmoetica, and this essay, in particular. In reading his Whole Grain: Collected Poems, Emanuel — a black American poet and academic most recently living in Paris — immediately struck me as an artist of immense talent, even as his work (despite its strong identity) did not seem to “mark” him as a black writer, or as any “kind” of writer, at all, except one of talent and breadth that went beyond questions of race, and into deeper ideational concerns. Of course, he is not unique, here, for other black writers have routinely bemoaned their forced ghettoization into purely (and, even worse, stereotypically) black concerns: Charles Johnson, a Buddhist who wonders why blacks are so little concerned with “deeper” questions, even now; Claude McKay, who had his popularity stripped for his refusal to toe a political line; Ralph Ellison, who fictionalized these kind of subtly racist interactions; and James Baldwin, likely the richest of all black philosophical thinkers, and who — atheist, gay, and critical of everyone around him — did not ever comfortably fit into any school or methodology, save that of honesty and the striving for excellence, which have their own methods, separate … Continue reading →

Recipe: Beef & Mushroom Lasagna

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Beef & Mushroom lasagna. Photo credit Eun Lee.

Beef & Mushroom lasagna. Photo credit Eun Lee.

Although spaghetti — at least the way I make it — is my favorite Italian dish, I reserve lasagna for special occasions. This used to be because lasagna is (or was, rather) just so damn hard to make, with the boiling and separating of noodles on a limited stove-top, in a kitchen where the oven and sauce were going simultaneously, but these noodles changed all that. The “no boil” variety cuts out the hardest step of all, but lasagna is still a surprisingly expensive dish, given the ingredients. There’s the ricotta, as well 3 other kinds of cheeses, there’s the large amount of vegetable filling, there’s the search for good-quality meat, and unexpected things like nutmeg and lemon that might not always be on hand. On average, a large tray costs me roughly $35-$40, which, while still better than eating out, is still a splurge for me.

Anyway, the concept for lasagna is the same as for most of my pasta dishes. The emphasis is on 3 key ingredients: shiitake (thin variety, and fresh), basil, and tomatoes. After much trial and error, these are the 3 most complementary ingredients I’ve found, and although shiitake isn’t Italian, the ‘umami’ flavor of tomatoes certainly is, which shiitake merely amplifies, much more so than portabella or button mushrooms. More heads of garlic is better than less, black pepper is good, and bell peppers work quite well, staying firm, as they do, even with an hour in the oven. The real deviation is the cheese. Parmesan/romano is my usual staple, but for lasagna, I also bring in mozzarella and ricotta. The ricotta needs to be fluffed with lemon and lots of nutmeg, then set aside. This gives the pasta a taste that is almost sweet, at times, and unique among most pastas.

Recipe For Beef & Mushroom Lasagna:

  • 1 can of Trader Joe’s basil marinara
  • 2 boxes of DeLallo Whole Wheat Lasagna, no-boil
  • 1 lb of grass-fed ground beef
  • 1 lb of tomatoes, diced
  • 1 lb of mixed bell peppers, diced
  • 1 lb of ricotta
  • 1 lb of onion, diced
  • 3 heads of garlic, crushed
  • 1/2 lb of mixed cooking leaves (spinach, chard, baby kale, etc.)
  • 1/2 lb of fresh basil
  • 1/2 lb of shiitake mushrooms, fresh, diced
  • 1/2 lb of mozzarella
  • 4 oz of parmesan/romano
  • 1 lemon
  • 2-3 tbsp of rice bran oil
  • 2-3 tbsp of extra virgin olive oil
  • black pepper — more is good!
  • 2-3 tsp nutmeg
Lasagna, cut to glory. Photo credit Eun Lee.

Lasagna, cut to glory. Photo credit Eun Lee.

Instructions:

  1. 1. Empty Trader Joe’s pasta sauce into a 5 or 6 quart pot, on medium heat.
  2. Slowly add in 1/2 the diced vegetables, basil, and cooking greens, then cover.
  3. After the leaves have cooked down some, add in final vegetables, with the garlic last. Order doesn’t really matter.
  4. Add rice bran oil, parmesan/romano cheese, pepper, and ground beef. Stir until well-mixed.
  5. As the sauce continues to cook for 15-20 minutes, covered, make the ricotta
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Review Of Vladimir Nabokov’s “Mary” (1926)

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Vladimir Nabokov's Mary (1926)

Vladimir Nabokov’s Mary (1926)

Mary, a solid first novel, presages all that’s good and bad with Vladimir Nabokov’s career. At a bit over 100 pages, it’s a short book, and this really works to Nabokov’s advantage. After all, his books — I’m thinking of the autobiography, Pale Fire, and Lolita in particular — are awash in pointless details, overlong scenes, and the occasional cliché. Ironically, many readers praise Nabokov for all these faults, since Nabokov himself was in love with tedium and closed to new ideas, bragging that his ideal editor would only rework a misplaced semicolon, or apologetically suggest a nipped comma, and nothing else. As he says in a taped interview about Lolita, in response to queries about the novel’s “ideas” (which, by the way, turned him off, hence the intellectual dearth in much of his writing), “I don’t want to touch hearts; I don’t even want to touch minds. What I want to produce is really that little sob in the spine of the artist’s reader…”

As a kid, it was great to see such confidence, especially from a writer with talent, toying with ideas indefensible, pouting through bold non-sequiturs, and gritting his teeth at ‘philistines.’ I was surprised, then, to finally see the interview on-screen a few years back, and was shocked at how incredibly different Nabokov was in real life. Obviously, he spent so much time thinking about what his own smirk looked like, that he forgot to prep himself for a world of others — other people, other values, and yes, other, more imaginative ideas than his own. The body language, stuttering, and the fact that he refused to do an unscripted, face-to-face interview (he read from index cards) all point to a great personal insecurity, especially since it’s so hard for Nabokov — or anyone, really — to defend his exaggerated aesthetic positions, off the cuff. As he’s goaded off the chair and to the couch by some (unscripted?) questions, you’re left with that last image forcing through the air — a sob in the spine of the reader. It’s silly, awkward, and it, along with the interview itself, is a good summary of Nabokov’s art: always “reaching,” often in weird, contrived ways, but never quite grasping.

Thus, it’s interesting to look at his earlier fiction, which was, perhaps, from a time before his hatred towards themes, depth, or things of cultural import, for Mary lacks a few Nabokovian faults in its greater control over his unwieldy, hyperbolic flourishes — the very lack Vladimir Nabokov complains of in the foreword. And although Mary is not a great book, it has enough solid or even good material to recommend it to enthusiasts. As noted, its length forced Nabokov to concision, and focusing on the disconnect between Bolshevik and pre-revolutionary Russia invites depth and an interesting, surreal quality to many passages. The plot is also much more straightforward than in later novels, which, in Nabokov’s case, is a plus, since … Continue reading →