"Money" for nothing
Thursday, August 9, 2012
If you missed last evening's exploration of Woody Allen's "Take the Money and Run" at our CineVerse meeting, here's a recap of what we discussed:
HOW IS THIS FILM DIFFERENT FROM OTHER ALLEN MOVIES YOU’RE FAMILIAR WITH?
- Like several early Allen pictures, it’s purely a comedy, with no serious dramatic subplots, and doesn’t take itself seriously
- It relies more on a series of loosely interconnected sketches and gags than any kind of strong storyline/plot
- It’s strength is a manic, quickly paced style loaded with slapstick, verbal and sight gags and self-effacing comedy
- It doesn’t explore existential and psychological themes that Allen was famous for doing in later movies
- Arguably, although the film is short, it could be trimmed down a bit, as there are some dull moments in between the hilarious ones that indicate a younger, inexperienced director
- Pairing humorous music with a serious subject matter
- Depicting a frustrating romantic relationship between a nerdy Jewish intellectual and a beautiful woman
- Parodies on psychoanalysis, fame, and success
- Breaking down the fourth wall: talking to the audience
- It is arguably the first feature-length Hollywood “mockumentary” film: a movie that presents itself as a serious documentary, but which is fictional
- Chaplin’s Modern Times
- I Am a Fugitive From a Chain Gang
- The Defiant Ones
- Cool Hand Luke
- The 1950s TV game show What’s My Line
- The comedic style of Mel Brooks
- The zany, anarchic style of the Marx Brothers’ movies
- The slapstick and sight gags inherent in Buster Keaton silent comedies
- Real Life (Albert Brooks)
- Airplane!
- The mockumentaries of Christopher Guest, including This is Spinal Tap, Waiting for Guffman, Best in Show, and A Mighty Wind
- Bob Roberts
- The Rutles
- Woody Allen’s own Zelig
- Austin Powers