ISBN: Ostalo
Godina izdanja: 1980
Jezik: Engleski
Oblast: Film
Autor: Strani

Woody Allen`s cinema & 24th London Film Festival
-
1980
70, 31 str.
meki povez
stanje: vrlo dobro

Index
American Independent Cinema
Animation
BFI Film Award
British Cinema
Closing Gala
Controversy
Critics` Circle Awards
The Guardian Lectures
LFF `80 Central Section
London 1980 Film and Video Market
Napoleon Gala
New Directors
Opening Gala
Staff Credits
Thrillers
Tribute to Lotte Eisner

In film comedy the silent period was the era of the great performers with significant control over their work Chaplin, Keaton, Lloyd, Langdon - while the first fifteen years of sound were the era of comedy directors such as Hawks, Lubitsch, Capra, McCarey, Cukor, Sturges, often producing fast-paced, wisecracking screwball comedy (though performers such as W. C. Fields, the Marx Bros and Mae West all retained some control over their work). But the last thirty years have been pretty lean ones for new or distinctive film comedy (despite exceptions such as Frank Tashlin and Jerry Lewis), Woody Allen`s comic talent isn`t perfect or perfected, but it`s fine enough often enough that we should value it highly, both for itself and for the oasis it provides in the current comic desert.
Allen can be placed, partly, in relation to the `revolution` in comedy begun in the 1950s in night-clubs, theatre and television but which took a long time to affect cinema significantly. In the wake of Mort Sahl (whose act Jonathan Miller said was about `the dilemma of metropolitan man drowning in the surroundings he himself fashioned`) came performer-writers like Elaine May and Mike Nichols, Lenny Bruce, often considered more intellectual, more political, certainly more satirical. Allen considers Sahl `had a different content, surely, but the revolution was in the way he laid the jokes down`. Meanwhile, around Sid Caesar (with Berle and Gleason a dominating comic force in 1950s television) comedy was changing in a different influenced by vaudeville and Broadway traditions different way - much - with writers such as Larry Gelbart, Neil Simon, Carl Reiner, Mel Brooks all writing for Caesar`s television shows. Allen, who later also wrote for Caesar, was clearly influenced by this tradition, often situation-comedy, still evident in shows like Phyllis and Rhoda. To these influences must be added the satirical literary tradition (more evident in Allen`s writings, but also present in his movies) represented by Kaufman, Benchley and Perelman.