What do Woody Allen and Bob Dylan have in common? A genius for making genius their own way. While Dylan excels in being Dylan and writing songs that only Dylan can truly let shine in their full brilliance, as well as shunning the incendiary alchemy of both analog and digital studio wizardry, Allen is the same way. He can use a little of this and a little of that and wham bam thank you ma'am! What do you get? A little gem like "Take The Money and Run."
This film is unpretentious and absolutely hilarious. It stands with the best of the Mel Brooks parody films, a film celebrating a rich history of American drama and comedy. Allen pokes fun at everything and like a Dylan with scathing, razor sharp, satirical humour, expounds on the eccentricities and idiosyncracies of our colourful and quixotic society. He satirizes our (American)love of the maverick criminal and fashions a new legend, the tragic jester hero, a tragic fool like a Rosencrantz or Guildenstern, opening a new realm of possibility for all of us who don't speak so eloquently, don't carry our weapons so proudly, don't coin or brandish one liners with either the poise or delivery of an Eastwood or a Connery. For all of us semi-primates, there is Allen who sheds a golden light on our inequity and our folly. And like a Dylan, prone to laughing discordantly at himself in the middle of a song, Allen never takes himself or his audience too seriously.
This movie is one of his finest, it is witty and slapstick, you will snicker and guffaw, that I can assure you. And for those of you already enamoured with Allen and his work, who have yet to soak in this sauna of humour, you have great things ahead of you!
This film is unpretentious and absolutely hilarious. It stands with the best of the Mel Brooks parody films, a film celebrating a rich history of American drama and comedy. Allen pokes fun at everything and like a Dylan with scathing, razor sharp, satirical humour, expounds on the eccentricities and idiosyncracies of our colourful and quixotic society. He satirizes our (American)love of the maverick criminal and fashions a new legend, the tragic jester hero, a tragic fool like a Rosencrantz or Guildenstern, opening a new realm of possibility for all of us who don't speak so eloquently, don't carry our weapons so proudly, don't coin or brandish one liners with either the poise or delivery of an Eastwood or a Connery. For all of us semi-primates, there is Allen who sheds a golden light on our inequity and our folly. And like a Dylan, prone to laughing discordantly at himself in the middle of a song, Allen never takes himself or his audience too seriously.
This movie is one of his finest, it is witty and slapstick, you will snicker and guffaw, that I can assure you. And for those of you already enamoured with Allen and his work, who have yet to soak in this sauna of humour, you have great things ahead of you!