Book Description
This book reprints a four-hour conversation between Mr. Schickel and Mr. Allen and includes a long essay of introduction by Mr. Schickel, which places Woody Allen's entire career in critical perspective, as well as a complete filmography. Readers will find Mr. Allen's reflections on his major preoccupations--the battle of the sexes; the conflict between reality and fantasy in his major films; mortality, religion, and the role that chance plays in the unfolding of our lives. The book also offers insights into Mr. Allen's working methods as a writer and the growth of his skills as a director.
Customer Reviews:
Embarrassing. Shameless waste of time.......2004-10-01
I'm a huge Woody allen fan but this book is an embarrassing and shameless waste. Nothing new here is gleaned from Woody and his thougts on his films are much better presented in Woody Allen on Woody Allen: In Conversation With Stig Bjorkman. In an introduction seemingly ghost-written by Allen himself, Schickel uses at the end to defend the Soon-Yi situtation and even delves into the Mia Farrow charges, "I do not think anyone believes the hysterical (and preposterous) charges of child abuse Mia Farrow brought against him; certainly the courts did not." Did Schickel not read the court transcripts that Farrow attached to the end of her book where the Judge said he was unconvinced that something did not take place? It is as if he has made a deal with the devil just to land a prize interview, except he completely wastes his opportunity by asking almost nothing of interest or get anything new from Allen.
He lets Allen get away with saying his plots are fabrications and have little to do with his own life, ignoring the fact that many of the films parallel Allen's life almost exactly. In fact, in "Deconstructing Harry," there is a fight scene between Harry and his wife which uses almost the exact words that Farrow wrote occurred between her and Allen! Yet, all that is not spoken about. Schickel, who thinks he is an authority on Allen, questions him about Bob Hope, who Woody Allen is well-known to have admired, but seems ignorant of the fact that "Love and Death" is almost a loose reworking of Hope's Monsieur Beaucaire (1946) - some film authority!
There is nothing new of interest here at all. Read the "Woody Allen on Woody Allen" book instead- Schickel seems so excited to be talking to Woody, he even thinks something as awful as "Hollywood Ending" is acceptable. This book is less a book on Woody Allen and his films and more about how a film critic can lose integrity and a respect for his craft by cashing it in to talk to Woody Allen. It's sad.
A Great Filmmaker's View of Himself.......2003-11-01
Woody Allen makes films like no one else. Sure, the themes of Allen's films (New York, anguished intellectuals) aren't ones that are shared by most blockbusters, but his process of making films is different. Since he started making his own films over thirty years ago, he has put out about one every year, a record no other American director has come close to, and of course he writes them and acts in most of them. It is no metaphor that he has put his life into films, and in _Woody Allen: A Life In Film_ (Ivan R. Dee), the movie critic for _Time_ magazine, Richard Schickel, examines the life work along with Allen. The book is the complete text of a four-hour interview shown last year on the invaluable Turner Classic Movies channel; that version was edited to ninety minutes. It also has an essay of appreciation about Allen's work, which Schickel clearly values. He admits that he is biased, not because of friendship for Allen, but because of similarities between them, being roughly the same age and distrusting organized religion, corporate America, and aromatherapy. Allen "... speaks to me - and _for_ me sometimes - in a quite uncomplicated way." If you do not share his bias, he warns, you are reading the wrong book. If you do, you will find Schickel's essay, and especially Allen's own words about his work, a delight.
The film a year output has lead to many people thinking that along with all the other neuroses that Allen has depicted for himself, he is a workaholic. He denies it. He likes the work. "It keeps me sane to the degree that I'm sane. It helps me." But if he can't get the shot exactly right, and it is time for the Knicks game, he lets the shot go. He may love making the movies, but he is distinctly modest about them. "I think I'm going to write _Citizen Kane_ every time out of the box, and it's going to be great." And then he is humiliated by what he sees on the screen. "I have failed almost every time..." He reflects here on his ability to make jokes; even in high school, he could get out of class at one and go into New York to start writing jokes for clients to put in the newspapers. His films are not all just funny, of course. Even though there is humor in, say, the masterful _Crimes and Misdemeanors_, the sad lesson of the movie is that good intentions don't count; "... they do in your heart - but to society success is the bottom line." The earnest film-maker in the movie is a loser and the murderous doctor loses nothing. "I just wanted to illustrate in an entertaining way that there's no God, that we're alone in the universe..." No wonder people like his early funny ones.
Schickel has done a masterful job asking the right questions. He does not go much into Allen's personal life, but sticks to the work. Allen gets to explain his attitude toward actors, and it is clear why he can continue to get the best of them to work with him. He lets them improvise, and he lets them alone: "You get out of the way and let them do what has made them great." He is laudatory about Mia Farrow's participation in the films, and for all her subsequent acerbity towards him, he did provide her with an enormous body of work. Schickel rightly gets Allen to talk on the magic in his movies, like the character leaving the screen in _Purple Rose of Cairo_. Magic is the only thing that could save us, but it doesn't do so for Farrow's character because she, like all of us, has to choose the real world. There is a surprising segment on gangsters in Allen's films, who play roles more often than I had remembered. Allen says that with his father having been a pool hustler and his own having grown up on the streets of Brooklyn, he is closer to gangsters than intellectuals: "I mean, I was thrown out of college in my freshman year." There are insights in this small volume aplenty, and if you like Allen's films, you will learn much about him by hearing what he has to say about them.
More interview, less essay!.......2003-10-02
The prefatory essay is about 65 pages long, and the entire book, stopping short of the filmography and index, is about 174 pages. Because the book is so slim, I felt a bit cheated once I finally got to the interview. Maybe the publisher wanted an extended essay to make the book long enough to be marketable, but just beware -- interesting essay, fascinating interview (if you like Allen), but when you see how slim the book is, just realize less than 2/3rds of it is interview.
Book Description
Now fully updated: The only critical study available of Woody Allen's entire body of work.
Woody Allen has carved out a unique place for himself in American movies, becoming our national auteur as well as the most prolific director in the country, and creating a singular world with each film he has released since his first movie in 1969. Foster Hirsch analyzes and celebrates that world in this expert study of the themes, visual style, and acting in each of Allen's films. With the addition of a new introduction and chapter covering the eleven movies Allen has made in the last decade, from Alice to The Curse of the Jade Scorpion, this is a vital book for Allen fans and students of film alike.
Customer Reviews:
A MUST READ.......2000-12-18
Having very little immersity in woody allens work I read Hirschs book anyway. The book was fun to read and well prepared. I was able to share the authors enthusiasm even without famililarty of allens work. If youv'e seen just one of allens film then this is a must read, it is comically and insightful, with enlightning critizism and praise.
Average customer rating:
- Woody's Feminist Biographer.
- In Allen's case, unruly is not equated with unaccomplished
- An engrossing, entertaining read
- Visionary vs. voyeur, contributor vs. parasite
- Trashy Biography With Contempt For Its Subject
|
The Unruly Life of Woody Allen: A Biography
Marion Meade
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ASIN: 0815411499 |
Amazon.com
Woody Allen once controlled the press like his actors--and as critic Andrew Sarris observed, Woody "is almost a ventriloquist and all his actors are marionettes. It's his nature. He has to be on top." The Soon-Yi scandal cost him $7 million and his protected reputation, and now we've got Marion Meade's unblinking look at his blighted life (superior to John Baxter's Woody Allen, not quite as good as Meade's Dorothy Parker: What Fresh Hell Is This?). The son of a loveless dad and mom who respectively ignored and beat him daily, Woody grew up mean, scarred, and scared: he slept with a night-light until his early 40s and considered suicide daily until at least age 51. His uncanny gift for comedy gave him no comfort, but movies did. His most autobiographical character is Cecilia in The Purple Rose of Cairo, who took refuge in theaters from "the ugly light" of real life.
Boy, does Meade cast ugly light on Woody and his work. His best role for a woman, Annie Hall, is "basically stupid," as Diane Keaton said. In life and art, Woody sought leading ladies he could dominate. He stalled Mia forever before granting her the right to keep her shampoo at his apartment "alongside toiletries belonging to Diane Keaton, preserved there like so many fossilized relics in King Tut's tomb for more than a decade." Mia was horrified that he spilled her family's nasty secrets in Hannah and Her Sisters, and fretted over his obsession with Keaton and her sisters, Mariel Hemingway's sister, and Mia's own sister Steffi--whose photos she discovered (shades of Soon-Yi!) in his apartment. Woody's lovable persona was as fake as his transplanted, dyed hair. And Mia's no sweetheart herself: having caught her scuzzy dad with Ava Gardner one night as a child, she married Ava's squeeze Frank Sinatra at 19, and then stole her friend Dory Previn's husband, André, saying, "You don't fight what feels good."
If Meade's sour, thorough tome is true, nobody in Hollywood fights what feels good, and they all come out looking pretty bad. --Tim Appelo
Book Description
Based on interviews with dozens of people who know him, both friend and foe, this biography examines the life and career of Woody Allen.
Customer Reviews:
Woody's Feminist Biographer........2007-02-13
It was my hope that Marion Meade's book would provide a critical and unvarnished examination of this controversial figure. Initially, I was quite sure that it had due its fact-filled, brisk, and concise narrative. Ms. Meade is a talented biographer and writer. She cites a plethora of primary sources who offer up unique and important observations about this cinematographic legend. Allen's enigmatic personality is dissected in full, and, after finishing it, his oeuvre makes considerably more sense as there seems to be little truly fictional about his storylines. Quite clearly, Allen is a man whose pathology cannot be denied. He is full of obsessions, compulsions, and neuroses in general. As if those demerits weren't enough, he also appears to be a snob and an elitist. Yet it is hard to fathom how one could find Farrow much healthier. At best, hers is a manipulative, passive-aggressive, and violent personality. Ms. Meade must see Farrow as being a Grade A societal victim which then cleanses her of guilt for every horrific behavior she commits.
The biographer is incredulous that anyone could find anything wrong with Farrow's single parent martyr act--which necessitated her adopting 11 children (to make for a total brood of 15). Well, let's consider the possible motivation for these habitual adoptions. We can rule out that she was a saint as nothing in her life seems to suggest that this is a possibility. A desire to spend every waking moment with children is not likely because she maintained a busy professional and social life the entire in which she cruised the international orphanage circuit. That her infant acquisition often corresponded with her entering some kind of personal crisis should give us pause. Could she have been using these children, and the enticing emotional bonds they offered, as a form of self-medication? The explanation is quite feasible. During her crackup with Allen, she readily turned the two children he loved against him, and alienated them from the person they once saw as their father. She also made a point of sharing details with them to ease her own pain while exponentially increasing theirs.
In a country where corrupt feminist statistics concerning domestic violence are actually believed by law enforcement agents, Meade makes no direct mention of the way in which Farrow the only physical aggressor in this particular relationship. She battered Allen repeatedly. During one of their arguments, she "punched him in the face" and "thwacked him hard across the back." These acts continued months after she first heard of his infidelity so no crime of passion defense is possible. Perhaps violence is a sign of health when it is directed towards a man. Farrow harassed Allen on the phone and threatened to kill him along with herself. She gave him a 1992 Valentine's Day card with a picture of her family inside. It was adorned with "steel turkey-roasting skewers" that pierced the hearts of her children. It's hard to imagine a person who wouldn't find the preponderance of the evidence to be quite damning regarding Farrow. If a man comported himself in the same fashion he would be quickly placed into a jail cell. Only a writer with a serious agenda could overlook Farrow's pathology.
In Allen's case, unruly is not equated with unaccomplished.......2006-02-06
I'm a big Woody Allen fan. But unlike many fans that I've encountered, I wasn't too terribly pleased with the widely-read Eric Lax biography entitled, Woody Allen: A Biography. It seemed to border on hagiography too much of the time. It's not that I was looking for a bio that dished a lot of hitherto unknown dirt. In fact, in Marion Meade's Woody Allen biography, there really isn't much in the way of hitherto unknown dirt. For the most part, Meade imparts to her readers what is already generally known, and then presents multiple viewpoints. For example, with the Soon-Yi scandal, the author gives you the story from many sides, including but not limited to Woody's, Mia's, and Soon-Yi's, and fairly much allows the readers to come to their own conclusions (something that many reviewers of this book have failed to see).
As for the title of this book, yes, Woody Allen has been difficult to control, but where did that lead him...? Has there been any filmmaker in the past 35 years that has consistently aimed higher than Allen...? In film after film, he has challenged himself and his audience to explore the most important question: Why are we here? Congratulations to the author for pointing this out and giving Allen the credit he deserves for having the highest aspirations.
Another item. Inspired by this book, I sought out recordings of Woody Allen's stand-up comedy routines from the 1960's. As it turned out, these recordings have some of his funniest material ever. The routines include bits on his first wife (he describes her as a "really weird woman" who underwent half a dozen sex change operations "but couldn't find anything that she liked") and also include "The Moose," which just might be his funniest stand-up routine ever (Woody goes hunting in upstate New York, bags a moose, ties it to his bumper, and while driving home through the Holland Tunnel, the moose wakes up and begins signaling for an illegal turn).
As for Allen's filmography, this book is fairly much right on target a lot of the time, but falls quite a bit short of providing a complete analysis.
This book is not a hagiography; and despite what its title and cover photo might lead you to believe, it is a far cry from being a scandal sheet.
Overall, a very informative and entertaining read.
An engrossing, entertaining read.......2005-08-22
After reading this book, I'm still not clear as to whether or not Woody Allen acted inappropriately with his young, adopted daughter, Dylan, but I do know this--it's one thing to be a fan of Woody Allen's work and an entirely different thing to be a fan of Woody Allen, the man.
Meade is thorough in detailing Allen's life, from his days as a child in Midwood, New York to his adulthood reign as King of New York Cinema. She adeptly guides the reader through major events in Allen's life and through each of Allen's movies, including insider reports from "key players" (childhood friends, teachers, actors, crew members, etc.).
Meade discusses the Farrow-Allen relationship in detail. She provides significant information re: the highly publicized end to the relationship, and concludes the book by describing where Allen is now, both professionally and personally.
If you're a diehard fan of Allen's, you might not want to read this book. While Meade attempts to report the information in an objective manner, the scales topple wildly in a direction unfavorable to Allen. The reader is left fascinated, wondering how a man considered by so many to be "brilliant," was able to build a career in which he openly exploited his relationships, communicated disdain for women, and wallowed in his own arrogance. This book is comprehensive (despite the author's inability to interview those closest to Allen, she seems to have utilized nearly all of the resources available to her, including books written by others, court transcripts, interviews, etc.) and engaging. It's fitting biography for a man who creates characters in most of his movies based upon himself, yet remains so intensely private--if you want an honest account of Allen's life, it's the best you're going to get.
Visionary vs. voyeur, contributor vs. parasite.......2003-06-27
What a great opportunity a Woody Allen biography represents. Here's one of the great masters of American cinema, an artist who has been producing prolifically for over thirty years. Before our eyes, he went through mastering various cinematic styles and then transcending them all, contributing as a philosopher, writer, comedian, actor, director, even musician. Along the way, Allen produced a body of work replete with a quality all too rare in any, particularly American motion pictures: a thinking, interesting approach. The audiences and critics speak for themselves: here's a true visionary.
Unfortunately, those who make a name for themselves are destined to attract parasites. Enters Marion Meade, the voyeur. Unable to create worthwhile art or even advancing the cause of understanding it better or enjoying it more intelligently, she has nothing to offer that's pertinent to the art of Woody Allen. What she does offer is plenty of gossip and garbage. After having the Allen-Farrow "scandal" publicly dished out for too long, who needs more of this? Is it really a surprise to anyone after watching W.A. movies that the man should have character flaws, past pain and ongoing neuroses. Isn't the genius of his work to allow us to identify so readily with his character?
If you need gossip to make yourself feel superior to a man who has had something genuinely great to offer, then don't pass this one up. If you prefer some degree of integrity in your writing, and are desirous to learn about subjects worth remembering, avoid this one at all cost.
Trashy Biography With Contempt For Its Subject.......2003-03-11
Very rarely has an author of a biography shown such contempt for the subject than in this volume, written by Mariod Meade (who has authored “Buster Keaton: Cut to the Chase”). “The Unruly Life of Woody Allen” mostly seems focused on portraying Woody as a not-very-nice man. While I doubt he is, Marion Mead never misses an attempt. In fact, a whopping one third of the books pages are devoted to the sex scandal of the early nineties, while “Deconstructing Harry,” “Everyone Says I Love You,” and “Celebrity” are all crammed into one chapter. Frankly, “The Unruly Life of Woody Allen” reads more like a National Enquirer expose than a biography of a great filmmaker.
Book Description
For too long, the films of Woody Allen have been interpreted as expressions of deconstructionism, nihilism, and postmodern angst. In this pathbreaking new book, Mary P. Nichols challenges this, arguing that Allen's work, from Play It Again, Sam to Deconstructing Harry, is actually an attempt to explore and reconcile the tension between art and life. As witty and complex as its subject, Reconstructing Woody shows that Allen is immensely concerned with human ethics, goodness, and virtue.
Customer Reviews:
A good review of the artistry of Woody Allen.......2000-11-02
As a big Woody Allen fan I really enjoyed reading Mary P. Nicols "Reconstructing Woody". Nicols is a professor of political science at Fordham University, and this book is basically her in-depth study or "thesis" on the cinematic art of Woody Allen. She digs deeply into 12 of Allen's films, namely "Play It Again Sam", "Annie Hall", "Interiors", "Stardust Memories", "A Midsummer Night's Sex Comedy", "Zelig", "The Purple Rose of Cairo", "Another Woman", "Crimes and Misdemeanors", "Manhattan Murder Mystery", "Bullets Over Broadway" and "Mighty Aphrodite". She looks at the artisty and craftsmanship of Allen's works and gives her own interperetations as to their deeper meanings, uses of symbolism, and Woody's obvious homages to classic art and literature. She also points out what I've told people all along...that whether he is using comedy or drama as his vehicle, Woody Allen is master storyteller who creates characters of great depth! The chapters on "Crimes and Misdemeanors" and "Stardust Memories" are especially intriguing and enlightening, so much so that Nicols has actually deepened my appreciation of those films. (Not that they wern't favorites already!) I would have liked to have seen what she had to say regarding "Manhattan" or "Broadway Danny Rose", but for some inexplicable reason they were not included. Now that four more Woody Allen fims have been released since the publication of this book, it would be nice to see Nicols do a follow-up which could cover "Deconstructing Harry", "Celebrity", "Sweet and Lowdown", "Small Time Crooks" and some of the older titles that were overlooked here. If Amazon ever offers such a book, I'll be the first here to buy it!
Thesis.......2000-06-24
Nichols has basically written the equivalent of a term paper on the films and life of Woody Allen. That is not to say that the book is dull or only a collection of non-emotive facts about Allen. It delves deep to examine the many facets of his life and the films that he has created. For anyone who really appreciates Woody Allen's films, this would be the book for you.
The Best Woody Ever.......1999-08-15
Nichols has made an exemplary contribution to film studies by integrating that mushy discipline with the rigor of political philosophy. She's surely smarter and better than Woody, but with her help we can see what is best about his art as moral and philosophical illumination.
A profound and provocative meditation on life and art........1999-04-27
Professor Mary Nichols's "Reconstructing Woody" is a profound and provocative meditation on life and art that gazes at these issues through the lens of Woody Allen's films. Nichols's treatment is unique for its insight and readability. Moreover, she succeeds in establishing three truths in her book: 1. That film is as complex, philosophic and insightful a medium for reflecting upon life as any other literary genre, combining especially the novel's ability to recreate a detailed world and drama's ability to have visual impact. 2. That the literary/dramatic reflection of life in art is not simply "reflective" or "passive," but instead represents the artist's ability to see the world through "a" world. If that artist is thoughtful and talented enough, then we do ourselves a service by trying to enter into his or her lens to view our own world. Nichols persuasively demonstrates that Allen is an artist of that rank. 3. That (and this is a very old issue in the Western world) the "sophisticated criticism" of certain intellectuals may, in fact, be less profound than the art it tries to explain. Allen himself has clearly and funnily portrayed this in his films, and Nichols, by presuming that Allen has something to teach her and us, has produced an intellectual commentary that does not distort or render shallow his dramatic corpus. In short, in confronting Allen's art through Nichols's book, the reader will emerge with a greater ability to appreciate a worthy artist's work and the world that that work represents.
Average customer rating:
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The Unruly Life of Woody Allen
Marion Meade
Manufacturer: Phoenix (an Imprint of The Orion Publishing Group Ltd )
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Binding: Paperback
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ASIN: 0753811170 |
Book Description
This digital document is an article from Clinical Psychiatry News, published by International Medical News Group on February 1, 2005. The length of the article is 1768 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: The 'comedy of neurosis' after Woody.(REEL LIFE)
Author: Roland Atkinson
Publication:
Clinical Psychiatry News (Magazine/Journal)
Date: February 1, 2005
Publisher: International Medical News Group
Volume: 33
Issue: 2
Page: 16(1)
Distributed by Thomson Gale
Book Description
Sainted Women of the Dark Ages makes available the lives of eighteen Frankish women of the sixth and seventh centuries, all of whom became saints. Written in Latin by contemporaries or near contemporaries, and most translated here for the first time, these biographies cover the period from the fall of the Roman Empire and the conversion of the invading Franks to the rise of Charlemagne's family.
Three of these holy women were queens who turned to religion only after a period of intense worldly activity. Others were members of the Carolingian family, deeply implicated in the political ambitions of their male relatives. Some were partners in the great Irish missions to the pagan countryside and others worked for the physical salvation of the poor. From the peril and suffering of their lives they shaped themselves as paragons of power and achievement. Beloved by their sisters and communities for their spirtual gifts, they ultimately brought forth a new model of sanctity.
These biographies are unusually authentic. At least two were written by women who knew their subjects, while others reflect the direct testimony of sisters within the cloister walls. Each biography is accompanied by an introduction and notes that clarify its historical context. This volume will be an excellent source for students and scholars of women's studies and early medieval social, religious, and political history.
Book Description
This digital document is an article from Canadian Journal of History, published by University of Saskatchewan on April 1, 1994. The length of the article is 1048 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Sainted Women of the Dark Ages. (book reviews)
Author: Margaret Wade Labarge
Publication:
Canadian Journal of History (Refereed)
Date: April 1, 1994
Publisher: University of Saskatchewan
Volume: v29
Issue: n1
Page: p175(3)
Article Type: Book Review
Distributed by Thomson Gale
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