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Woody Allen's "Blue Jasmine"


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#16 dirac

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Posted 28 August 2013 - 12:00 PM

Allen's conduct and bizarrely tone-deaf statements related to the affair did alienate much of his fan base, a considerable segment of which was female, and women in particular tend to take a poor view of men who mess around with the daughters of the family. There were men who thought he was pretty disgusting, too, of course.

 

In pictures like Manhattan Allen presented his character as a searcher for enduring values (remember that lecture Michael Murphy got for cheating on his wife with Diane Keaton)? At the end of the movie Allen's search concluded by chasing down his 17-year old lover, a foreshadowing of things to come, perhaps.

 

The marriage will last as long as Soon-Yi wants it to last, I expect.

 

Allen has recovered to a considerable extent. Midnight in Paris was his biggest hit. Possibly he's pulling in newer viewers that remember little if anything about the Previn affair, and others have returned to the fold.  Laudatory articles and documentaries that politely omit most of the details of the scandal appear regularly. But some fans have long memories. In my view they're not missing much by boycotting him, but reasonable people will disagree.



#17 cubanmiamiboy

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Posted 28 August 2013 - 03:45 PM

My mom did actually see "Vicky,Cristina Barcelona", as she's telling me now, but she also says that she doesn't think she has missed too much.  The last film she saw of him before that was The Purple Rose of Cairo...



#18 dirac

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Posted 28 August 2013 - 03:59 PM

Purple Rose is a good one.



#19 lmspear

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Posted 30 August 2013 - 08:31 AM

There's a wonderful moment in Sleeper where Allen and Diane Keaton riff on Streetcar with Allen as Blanche and Keaton as Stanley.

#20 kfw

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Posted 30 August 2013 - 09:07 AM

Allen's conduct and bizarrely tone-deaf statements related to the affair did alienate much of his fan base, a considerable segment of which was female, and women in particular tend to take a poor view of men who mess around with the daughters of the family. There were men who thought he was pretty disgusting, too, of course. [. . . .]

 

But some fans have long memories. In my view they're not missing much by boycotting him, but reasonable people will disagree.

 

I was disgusted by the affair as well, but I guess I don't see what good boycotting would do anyone. Not to rant or change the subject, but the film industry isn't exactly filled with moral paragons in the sex and marriage department anyhow.

 

Manhattan Murder Mystery in 1993 - I'm glad I didn't miss that one.



#21 dirac

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Posted 30 August 2013 - 10:16 AM

  It was nice to see Allen and Keaton together again in MMM but there wasn't much to the movie IMO. Marshall Brickman was back on board for that one, which possibly helped a bit. (Farrow dropped out of MMM for obvious reasons.)

 

There's a wonderful moment in Sleeper where Allen and Diane Keaton riff on Streetcar with Allen as Blanche and Keaton as Stanley.

 

 

Yes, that's a funny bit, lmspear.



#22 dirac

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Posted 09 February 2014 - 01:14 PM

“Blue Jasmine” is out on DVD.. I didn’t see anything that would make me change my no-theater policy on Allen’s pictures. The echoes of Streetcar are very, very strong  in many of the San Francisco scenes - so much so that it was distracting for this viewer. Not good, especially as Allen’s dialogue does not benefit from the comparison.  I have read that Allen says he did not have Streetcar in mind while writing his script. On the evidence of what made it to the screen….hmmm.

 

As Quiggin notes upthread, the movie is shot mainly in the Mission District. It’s true that Allen doesn’t give the city the glowing travelogue treatment we’ve become familar with from his recent pictures shot overseas. We are apparently supposed to think Ginger’s flat is horrid, but it looked nice to me, if possibly a tad cramped for two adults and two kids, and any clerk for a local grocer in contemporary San Francisco in possession of it would be in good shape. I kept waiting for someone to point this out to Jasmine but perhaps Allen doesn’t know any better? His relationship to modern pop culture seems fuzzier than ever. (Jasmine and her husband’s “song” is “Blue Moon.”)

 

Allen’s preference for brevity can be refreshing in a day where dramatic feature films routinely balloon past two-and-a-half hours but it can also look like carelessness, as it does here - characters inadequately sketched in, heavy reliance on stereotypes, important story lines and backstory not filled out. Blanchett’s Jasmine begins affected and batty and ends affected and batty, with no development, and even in flashback we don’t learn enough about her.

 

I liked the scenes with Sally Hawkins and Louis C.K. 




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