[The following essay is an excerpt from my book, Woody Allen: Reel To Real, now available via Amazon. The full essay can be read on the book’s website.]
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What’s In A Name? Six Major Critics Of Woody Allen
Critic #2: Dan Schneider
It makes sense to pair Roger Ebert alongside Dan Schneider, for while the former is a good writer and primarily emotional, Dan Schneider is a great writer and above all cerebral. In fact, the two critics’ reviews were compared at length on Roger Ebert’s own blog, in a feature that has garnered over 1400 comments to date. This includes an involved look at Stardust Memories vis-a-vis Ebert’s original review, with many commentators ultimately dissenting from Ebert after having read Schneider’s own piece, as it’s been partly responsible for the film’s revitalization among ‘lay’ viewers. Yet one of the more interesting things to come out of the exchange is Ebert’s class compared to other ‘name’ critics before him (such as the inflammatory Pauline Kael), not only in Ebert’s willingness to champion a writer he believed in, but his ability to take criticism from a source he considered quite “fair”, even as his own views remained unchanged. Indeed, for while Ebert concluded that Dan Schneider is an “ideal” critic that “keeps an open mind, approaches each film afresh, and doesn’t always repeat the same judgments”, he merely reiterated the value of emotion — at least for himself — and the judgments he’s made over the years. Yes, it would have been good to see Ebert respond to specific comments he apparently respected, but implicit in the man’s words is that some things, such as one’s leanings and emotions, are immanent, and perhaps even immutable. Perhaps biases (such as Ebert’s self-admitted ones) are ever-present, and aim to nullify what might otherwise be objective in one’s views. But if that is true, Dan Schneider’s work is a corrective, and asks a far more relevant question. Sure, biases are real, and quite dangerous for the arts, to boot, but what if a critic learns to be aware of them, and exercises control over their effects? What if ART is the critic’s main focus? Or communication?
Prior to going any further, I must confess that I’ve known Dan Schneider for several years now, have contributed pieces for his website, Cosmoetica, and give and receive feedback on our respective works. I have also been more influenced by his criticism, poetry, and fiction than any other writer I can think of, and even when I’ve disagreed with him on politics, art, or other subjects (for example, on the strength of Manhattan’s ending; that Ben is one of Crimes’s “losers”; Hannah’s “happy” denouement), the important thing — as Ebert once declared — is that the man is fair, and that his claims are well-argued, diverse, and incredibly consistent. This is evident in his essays on everything from conspiracist mythology (wherein the JFK … Continue reading →