a story about a playwright who, in order to get his show produced, must accept the backing of a gangster whose girlfriend gets cast in the lead, rhe catch is that her bodyguard, a gangster himself turns out to be a better writer than the artist. It is a movie about theater that is itself theatrical, a sophisticated comedy with a gangsterish element that somehow never feels like those two things shouldn't go together. I loved that it never forgets to be fun. the 1920s setting is beautifully realised, the vibe alive and lived in. it's clever that this is essentially Allen's own neurotic writer persona transplanted onto John Cusack, who was clearly the right call, Allen was too old for the role and knew it, and Cusack is great, bringing both the familiar neuroticness and something distinctly his own.
but the real reason to watch is Dianne Wiest, who won the Oscar for good reason. she plays Helen Sinclair, a fading stage actress of towering ego and impossible glamour, and she delivers every line like the fate of the world depends on it. every time she places her fingers on Cusack's lips and tells him not to speak it's completely seductive and I get an instant boner, it's obvious why his character falls for her, because I did too.
there's also a late scene where Cusack comes to retrieve his fiancée and ends up in this absurd conversation through a window about sex being economics that is genuinely hilarious. one of Allen's most purely enjoyable films.
Paulie Walnuts shows up briefly too if you're looking for him.
a story about a playwright who, in order to get his show produced, must accept the backing of a gangster whose girlfriend gets cast in the lead, rhe catch is that her bodyguard, a gangster himself turns out to be a better writer than the artist. It is a movie about theater that is itself theatrical, a sophisticated comedy with a gangsterish element that somehow never feels like those two things shouldn't go together. I loved that it never forgets to be fun. the 1920s setting is beautifully realised, the vibe alive and lived in. it's clever that this is essentially Allen's own neurotic writer persona transplanted onto John Cusack, who was clearly the right call, Allen was too old for the role and knew it, and Cusack is great, bringing both the familiar neuroticness and something distinctly his own.
but the real reason to watch is Dianne Wiest, who won the Oscar for good reason. she plays Helen Sinclair, a fading stage actress of towering ego and impossible glamour, and she delivers every line like the fate of the world depends on it. every time she places her fingers on Cusack's lips and tells him not to speak it's completely seductive and I get an instant boner, it's obvious why his character falls for her, because I did too.
there's also a late scene where Cusack comes to retrieve his fiancée and ends up in this absurd conversation through a window about sex being economics that is genuinely hilarious. one of Allen's most purely enjoyable films.
Paulie Walnuts shows up briefly too if you're looking for him.
