August 28, 1992
Some film and video industry insiders have been invited to buy pirated video versions of "Husbands and Wives," the new Woody Allen movie scheduled for theatrical release Sept. 18. They were approached by surreptitious callers, asking $150-$200 per copy. Two reliable sources purchased the $200 version; both said the audio and picture were outstanding. Bill Baker of the Motion Picture Assn.
May 12, 1987 |
Woody Allen, Ginger Rogers, Sidney Pollack and Milos Forman said today it is sinful and immoral to turn old black and white movies into color without permission. In an appearance before a Senate Judiciary subcommittee, the entertainers appealed to Congress for legislation against a new computer-generated technology that adds color to old films. Among those they said are being drastically altered are the Humphrey Bogart classics "Casablanca" and "The Maltese Falcon."
March 20, 1992 |
When it comes to getting his films made his way, Woody Allen is clearly the King. Studios bid lustily for his services when and if they become available, actors from John Malkovich to Madonna consider it an honor merely to be asked on board, and audiences show up with a pleasing regularity no matter what he puts on the screen. But, despite what Mel Brooks said a few years back, it is not necessarily good to be the King.
December 22, 1992 |
A judge Monday ordered Mia Farrow's lawyers to give him details of her tentative book deal and an update of her net worth so he can decide whether Woody Allen should pay her legal fees. Allen's lawyer, Harvey Sladkus, argued that Farrow told the court in an affidavit last June 30 that she has $3.8 million and doesn't need to have Allen pay her $300,000 legal bill. Sladkus also argued that Farrow has a $3-million deal with Doubleday-Dell for an autobiography.
July 22, 2005 |
It was an intriguing idea for an entry in the Hollywood Bowl's summer jazz series: "Play It Again: The Movie Music of Woody Allen." Jazz, after all, has been important to Allen as atmospheric settings for his films as well as his own sidebar career as a clarinetist specializing in early New Orleans jazz.
March 12, 1992 |
The best place for Woody Allen to set his movies is really the contemporary scene. Is there anyone better at exposing the jangled psyche of America's urbanites trying to make it through the 20th Century? Allen found his milieu with "Annie Hall" in 1977 and has rarely looked back since. Oh, he's strayed a generation or two ("Zelig" and "Radio Days" come to mind), but he usually returns to a more modern time to express his unique mix of neurotic humor and insight.
November 20, 1998 |
"Celebrity" sounds like something Woody Allen knows a thing or two about. Lionized as a writer, filmmaker and stand-up comic, with a personal life that's been as talked about as President Clinton's, who better than Allen to examine what it is to be famous? Or so you'd think. Scattered, phlegmatic and an all-around weak effort, "Celebrity" turns out instead to be one of Allen's periodic misfires.
February 18, 1989 |
From the moment Thursday when its printed synopsis appeared on a front curtain at the Japan America Theatre--almost as wide as the proscenium and almost as intimidating as Holy Writ--"Dmitri" aimed to be the story ballet to end all story ballets.
August 14, 1993 |
Woody Allen visited his 5-year-old son, Satchel, in Dublin, Ireland, after a New York state judge ordered Mia Farrow to let Allen see him. Allen had traveled to Ireland specifically to see Satchel, whom he is entitled to see three times a week, according to a ruling at the couple's recent trial in which Farrow was given custody of Satchel.
May 20, 2011 |
Here's a sentence I never thought I'd write again: Woody Allen has made a wonderful new picture, "Midnight in Paris," and it's his best, most enjoyable work in years. If you're surprised to be reading that, think how I feel writing it. I've been a tough sell on the past dozen or so Allen films, very much including the well-acted but finally wearying "Vicky Cristina Barcelona. " It seemed that everything he touched in recent years was tainted by misanthropy and sourness. Until now. With "Midnight in Paris," Allen has lightened up, allowed himself a treat and in the process created a gift for us and him. His new film is simple and fable-like, with a definite "when you wish upon a star" quality, but, bolstered by appealing performers like Owen Wilson, Marion Cotillard and Rachel McAdams, it is his warmest, mellowest and funniest venture in far too long.