1740 - Hannah & Her Sisters

I've always said that Annie Hall is my favourite Woody Allen film, but I can't help but wonder if this one isn't sneaking in there.  It doesn't have all the wonderfully surreal stuff that it does, but as a straight-story, it could be his finest.  It's a lovely ensemble that's full of some wonderfully comic moments, and then some really dynamic drama (I'm looking at you Max Von Sydow!).  I was watching this mostly to look at the visuals again and think about it purely from that stand point.  The film I'm currently working on is similar to Woody's films in that it's quite dialogue driven, and so it helps me a fair deal to watch the films of similar wordy writers, and this is just simply one of the best. 
I always point to Annie Hall as the film that non-Woody-believers should check out if they don't think they'd like him - but I think this one deserves a mention just as much.  Please, oh please, if you've never seen it - treat yourself.  You won't regret it - and if you do… we probably can't be friends.  Sorry. 

1710 - Hannah & Her Sisters

I'm sure that I've commented on this film several times at this point, it's one of the many Woody Allen films that I revisit on a regular basis.  It's one of the best ensemble comedy films out there, and it's not surprise that it won an Oscar for screenplay that year.  Annie Hall is always my go-to favourite Woody film, but this one might just be the close second the more that I think about it. 
I'm revisiting it at this point as I start to plan the visuals for my next film Sex After Kids.  I'm going to be re-watching a lot of relationship films in the next little bit, particularly ones that are heavier on the dialogue front just to compare styles and get some more inspiration.  What's interesting about Woody is that he likes to shoot mostly in just big master shots.  He hardly, if ever shoots coverage and very sparingly shoots close-ups.  I like how a lot of his shots go from wide shots to medium shots to close-ups just by following the actor's natural rhythms.  I honestly think that there's something to be said for not getting in the actors way when it comes to a visual style and sometimes that simply means letting a scene play out and not destroy it with too many shots and interruptions. 
If you've never seen this, you really should, in a catalogue of great films, it's one of Woody's best.

1650 - Bullets Over Broadway

So for my second film of my Woody Allen birthday fest I've picked something from the same time period as the previous one.  Woody had his a stride around this time in the early-mid nineties with a lot of solid comedies.  I think he went through a period of wanting to do lighter material, perhaps in response to his personal life being a bit heavy - although, what's the point in assuming?  Let's talk about the film!
John Cusack stars as a pretentious playwright who opens the film declaring "I'm an artist!".  He's had two flops on broadway which were, obviously, the director's fault.  This time he's going to direct - but the only way that his producer can get someone to finance the film is if he's willing to cast a mobster's girlfriend in the show - and she just happens to be an absolutely terrible actor.  It's such a great premise and it's an even better film - especially once the bodyguard meant to protect the girlfriend turns out to be the only true artist and we see just how far he's willing to go to make a great piece of art.  It's chock full of phenomenal performances, great plot turns, and clever lines.  In terms of story it might be one of Woody's more clear-cut films - and perhaps that's more to do with his co-writer than himself, but it's a really great example of comedy through character and situation.  It's bizarre to think that this film is almost twenty years old now (probably because it just makes me feel old), but it's another one of the classic Woody films that if you haven't seen, you really owe it to yourself to check out.