Stardust Memories is a 1980 film written and directed by Woody Allen, who considers this to be one of his best films in addition to The Purple Rose of Cairo and Match Point.[1] The film is shot in black-and-white, particularly reminiscent of Federico Fellini’s 8½ (1963), which it parodies. It was nominated for a Writers Guild of America award for “Best Comedy written directly for screen”.

It is the story of a famous filmmaker Sandy Bates (Allen), who is plagued by fans who prefer his “earlier, funnier movies” to his more recent artistic efforts, while he tries to reconcile his conflicting attraction to two very different women: the earnest, intellectual Daisy (Jessica Harper), and the more maternal Isobel (Marie-Christine Barrault). Meanwhile, he is also haunted by memories of his ex-girlfriend, the mercurial Dorrie (Charlotte Rampling).

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To Rome With Love – Official Trailer [HD]

 Woody Allen new movie is “To Rome with Love” and it reminds many of the 1980 Allen movie “Stardust Memories.”

Woody Allen plays out his psychology on screen

NEW YORK — Ozymandias melancholia.

It’s a psychological state that is mentioned by two characters in Woody Allen‘s latest film, To Rome With Love, which opens Friday: Alec Baldwin’s wistful architect and Ellen Page‘s self-absorbed actress, both of whom claim to be afflicted.

It is also a rare clue about what makes one of American cinema’s greatest and most prolific artists tick.

Borrowing from the title of Percy Bysshe Shelley’s 1818 poem about a broken statue of a once-mighty king that is found in a desert, the phrase refers to a depression over the realization that nothing is permanent.

Don’t look for the malady in any medical textbook, though. Instead, watch Allen’s Stardust Memories from 1980, a caustic portrait of a filmmaker looking back over his life and creative output that stylistically echoes Italian master Federico Fellini‘s similarly autobiographical 8½ from 1963.

“It is a phrase I coined and felt entitled to use again,” Allen says while seated in the dark velvet-lined womb of his office and screening room on Park Avenue. “It is a contemporary syndrome.”

Does he worry that his films won’t be remembered? “I don’t care about my work lasting. I would like to last. They can turn my movies into guitar picks. Nothing lasts. Nothing at all. Not even the sun.”

Given such disturbing insights, it is hard to know whether all those years Allen spent in therapy paid off — or just made his existential despair into fodder for future features.

Turns out the locale of his new comedy is the perfect place to experience this condition amid all the crumbling ancient ruins. “You get that feeling in Rome all the time,” he says. “You are surrounded by what would have been a grand palace or building or statue. Now, like Ozymandias in the poem, it’s nothing but a headless trunk.”

He did find some refuge in the city’s reliably delicious cuisine. “That is one of the great treats of being there,” Allen says of his first filmmaking foray in the Eternal City. Jesse Eisenberg, who plays Page’s admirer, observed firsthand as the director enjoyed a pizza. “He eats it like everyone else,” reports the star of The Social Network. “One leg at a time.”

At least Woody fans now know the reason why, after more than 40 films in nearly half a century, the 76-year-old director refuses to take a break from his pace of averaging a movie a year.

Basically, he doesn’t want to think about being a headless trunk someday.

It also explains why he is not overly impressed by the fact that he just achieved the biggest box-office hit of his career with last year’s dreamily romantic Midnight in Paris.

The most enthusiasm he can summon for the $60-million-grossing film that led to his record third Oscar for an original screenplay is to describe it as “a happy accident.”

“I try my best on all of them,” says Allen, who has had his fair share of misses — most recently, 2010’s You Will Meet aTall Dark Stranger landed with a tall dark thud — mingled among successes. “Some work out nicely. Some work out not as nicely. Some work out better than that. For some reason, people had a great affection for Midnight in Paris. Who knows why?”

Baldwin, who appeared in Allen’s Alice in 1990 and already has signed up for his third Woody vehicle — a yet-to-be-titled project that starts shooting in August in New York and San Francisco — is grateful that the movies keep on coming. “A lesser effort by Woody is better than most of what is out there. If only every third movie grabs you by the lapels, it’s worth sitting by with the other two and waiting. Like rings on a tree, there are so many levels to his work.”

The setting sets the tone

Allen rarely affords himself the luxury of pondering the public’s reception of his efforts, especially as he continues to explore shooting in places far beyond his Manhattan comfort zone. To Rome With Love, which reflects the major influence of Italian cinema on his work, serves up a quartet of humorous vignettes, peppered with unfaithful lovers and reflections on the nature of celebrity, with a soundtrack that is heavy on Volare and Arrivederci Roma.

Ever since he switched to European settings, starting with London in 2005’s Match Point, Allen has allowed the mood of each city to dictate the tone of the movie. And his version of comedy Italian-style is very much a farce, albeit with an undercurrent of dark satire.

“There are such strong personalities to these cities,” he says. “Rome is chaotic, hilarious, joyfully alive and full of farce. Paris has a romantic lovers’ feel, a nostalgic feeling. In Italy, you don’t think back to the earlier eras so much. It really came into its own post-World War II, and that is when Italian filmmakers began to define their country for Americans. It is very energetic and lusty.”

As usual, the cast features Allen veterans such as Baldwin and Penelope Cruz (who in 2009 won an Oscar for Allen’s Vicky Cristina Barcelona), along with newcomers such as Eisenberg, Page and indie darling Greta Gerwig. Homegrown performers include Roberto Benigni, an Oscar winner for 1998’s Life Is Beautiful, as an average man who is suddenly hounded by paparazzi.

But the most noteworthy participant on-screen might be Allen himself, showing up in one of his own films for the first time since 2006’s Scoop. The conversation turns bittersweet as he regrets that he can no longer pull off the wisecracking swain role that he perfected in 1977’s Annie Hall.

“I would have liked to have played Jesse Eisenberg’s part, but I am too old,” he says. “I was always the guy sitting opposite the girl in the café, pitching her and making jokes and trying to make her fall in love with me.”

Not that he minds Queens native Eisenberg, 28, as his substitute. In fact, he agrees that they seem to have been fated to collaborate. “He gets it right off,” Allen says. “He speaks at double my speed. He is in that scrapbook of characters that I could be.”

Instead, Allen plays an unhappily retired and somewhat neurotic opera director who pins a comeback attempt on his discovery of an Italian mortician who can sing like Pavarotti — but only in the shower.

Though he says the retirement angle is parenthetical to the humor of the segment, it once again underlines his need to maintain his continuing existence in the world.

“I don’t see myself not working,” Allen says. “Not because of any great contribution I have to make, but because I would be sitting at home, brooding and being depressed. When I work, it keeps my mind on stupid, solvable problems. I’m thinking of the third act and how I can make it work.”

Being cast in your first Woody Allen film has long been a rite of passage, and Eisenberg is no different from the rest of his generation in coveting such a chance. He was fascinated to watch one of his idols on the job.

“There is such efficiency on his set,” he says. “He is so adept at handling all the myriad things that can come up. He does it with such ease. It is intimidating to work with someone who is a million times more interesting as a performer than you are.”

No spotlight for him

As is his routine, Allen was a no-show at this year’s Oscar ceremony despite four nominations for Midnight in Paris, including best picture. He can’t even vote, because he isn’t a member of the academy.

“I’m not a joiner,” Allen explains while missing an opportunity to reference his hero Groucho Marx‘s infamous quip: “I don’t care to belong to any club that will have me as a member.”

Nor does the onetime stand-up comic who specialized in self-belittlement display his trophies — his directing win for Annie Hall brings his Oscar tally to four — in a place where others may admire them. “I hate to tell you where,” he says of the potential mini-Ozymandiases. “They’re in my closet on the top shelf. I’m not a person who has photographs around the house of movies that I’ve been in or people I’ve worked with or things I’ve won. It’s always embarrassed me.”

Besides, “I see them whenever I take my underwear out — which is every morning.”

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This film image released by Sony Pictures Classics shows, : Alec Baldwin as John, left, and Jesse Eisenberg as Jack in a scene from “To Rome With Love.”

Sony Pictures Classics, Philippe Antonello, Associated Press

INTERVIEW: Jesse Eisenberg on working with Woody Allen at the To Rome With Love Press Conference at Hotel Parco Dei Principi in Rome, Italy on April 13, 2012.

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Woody Allen’s “To Rome with Love” began with better titles. Yet despite the exquisite locations of the filmmaker’s first story of love, Italian style, this bland ensemble romance deserves the generic name rather than the clever working titles it started with.

Allen initially called it “Bop Decameron,” then changed it to “Nero Fiddled” before he and his distributor decided to slip in the name of the Eternal City.

Hey, it helped to have the City of Light mentioned in the title of last year’s Allen hit “Midnight in Paris.” So putting Rome in the name makes good marketing sense to hint that his latest continues the trend of light romance in a beautiful Old World capital.

Unfortunately, “To Rome with Love” lives up — or rather, lives down — to the superficial postcard sentiment of its title.

Weaving four stories of Italians and American visitors, the writer-director creates a lot of clever moments with his ensemble comedy that features Allen’s first on-screen appearance since 2006’s “Scoop.” In between the good times, the story and characters just drift about awkwardly, stuck on a walking tour of Rome that continually bumps up against dead ends, or worse, circles back so we wind up seeing the same things a few times too many.

It’s hard to even pick out a highlight among the four stories. Parts of each story work quite well, while other portions just weigh the scenarios down.

The film almost comes down to how well the actors inhabit their roles. Allen’s known for giving his cast plenty of leeway. That’s often resulted in Academy Award performances, and just as often has left Allen’s stars nervously milling around.

There are no Oscar prospects on screen in “To Rome with Love,” but Alec Baldwin conveys a sense of wistful nostalgia as an architect seemingly strolling into his own memories of Italy in his youth.

Baldwin’s a wry, omniscient commentator wafting in and out of a love triangle involving Jack (Jesse Eisenberg), Sally (Greta Gerwig) and her seductive pal Monica (Ellen Page). Gerwig’s sadly cast as a flavorless third wheel, but Eisenberg and Page are so tentative and cold in their supposedly impetuous fling that they seem like neutered pups alongside old hound Baldwin.

Roberto Benigni manages a few laughs as a dreary but contented family man hurled into notoriety after Rome’s press and paparazzi inexplicably choose him as a person of interest, shadowing him like an A-lister and hanging on his every word about what he had for breakfast. It’s a lightweight commentary on fleeting fame, and the gimmick quickly wears thin.

The weakest of the stories centers on naive newlyweds Antonio and Milly (Alessandro Tiberi and Alessandra Mastronardi), who come to Rome for a fresh start but end up separated and tossed into romantic misadventures with others. Antonio winds up with a bombshell hooker (Penelope Cruz, an Oscar winner for Allen’s “Vicky Cristina Barcelona”), Milly with an Italian movie star (Antonio Albanese).

Antonio and Milly’s meanderings are pointless and uninvolving. Cruz, however, knows how to play voluptuous in her sleep, so she makes her little corner of the scenario fun and sexy.

Allen co-stars as retired music producer Jerry, who comes to Rome with his wife, Phyllis (Allen veteran Judy Davis) to meet the Italian fiance of their daughter, Hayley (“Midnight in Paris” co-star Alison Pill).

After Jerry hears the sublime opera vocals of Hayley’s future father-in-law, Giancarlo (Italian tenor Fabio Armiliato) from the shower, he’s determined to make the humble undertaker into a star. Giancarlo insists he sings only for personal pleasure, and when he auditions at Jerry’s insistence, he discovers that his talent fails him outside the shower.

You can guess the rest. The scenes of Giancarlo performing on stage could have become as repetitious as the media’s pursuit of Benigni, but Allen shows enough restraint and gives the sequences enough diversity that they remain consistently funny.

The time away from the screen hasn’t helped Allen’s acting chops. He’s curiously listless as Jerry, and Davis, who was razor-sharp in Allen’s “Husbands and Wives,” rarely rises above dreary hen-pecking as his wife.

The ineffable magic that made “Midnight in Paris” click eludes Allen here. When in Paris, Allen’s gimmicks coalesced into a sly, engaging romantic fantasy.

When in Rome, though, it’s not Nero who’s fiddling, but Allen, bopping and dithering around the city like a tourist so desperate to cram in all the sights that he comes away only with a few crisp highlights and a lot of out-of-focus snapshots.

“To Rome with Love,” a Sony Pictures Classics release, is rated R for some sexual references. Running time: 112 minutes. Two stars out of four.

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Young Hollywood is hanging out in NYC during the Tribeca film festival, where we chat with rising star Greta Gerwig about her hip slice-of-life movie, ‘Lola Versus’. Greta offers up some advice on how to get over a bad break up, as her character in the film does, and talks about all the other amazing projects she has in the works, including Woody Allen’s ‘To Rome With Love’.

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Review on Woody Allen’s latest movie:

Woody Allen, ‘To Rome With Love’ Director, Talks ‘Midnight In Paris’ Success, Acting Career

Woody Allen and the “To Rome With Love” cast in New York on Tuesday

The legendary filmmaker returns to his old obsessions-sexual avarice and megalomaniacal control.

Everyone chuckles, though it is not at all clear he’s joking. Allen’s fabled career has had exhilarating ups, but also abysmal downs, and praise has often been followed by attack. At one low point, in 2002, when he was locked in a bitter lawsuit with his onetime producer, Jean Doumanian, The New York Times, which in better days had consistently proclaimed Allen’s genius, counted a “grand total of eight people” in the seats of the Times Square discount house that was the sole local venue of his latest flop (Hollywood Ending) and speculated that “his long moment as cultural icon may be over.”

Since then Woody has stormed back, perhaps not bigger or better, but more popular than ever, with a sequence of solid hits filmed abroad. Midnight in Paris, released last year, won Allen his third Oscar for best original screenplay, along with a nomination (his seventh) for best director. More remarkably, it is Allen’s top all-time box-office success, earning well over $110 million worldwide.

The shoot finished, we move next door to Allen’s editing room and sit on facing chairs amid unopened cartons and cluttered surfaces, the space resembling the garage of an unhandy suburbanite rather than the atelier of a celebrated filmmaker. “This has always been such a little rathole,” he says. “I’ve been here 30 years or so, and it suffices. We edit in here. We take it in there. We look at it. We hate it.”

At 76, he has aged with unholy grace: the mussed carrot-top, now the cloud tint of jiffy-bag innards, has scarcely thinned; the oblong face remains a mobile mask of amused perplexity; the wiry physique, thanks to daily exercise, still exudes the vigor of the athlete he once was—a skilled-enough boxer, in his teens, to have trained for the Golden Gloves competition. His one obvious debility, no joke for a master of spoken idioms, is defective hearing; his phone, keyed to ear-splitting volume, trilled six times before he asked, in puzzlement, “What’s that?” Unperturbed, he continues calmly, not bothering to raise his voice.

Allen in person is nothing like the nebbishy mess of phobias and insecurities he has been impersonating, on stage and screen, for half a century, dating back to his days doing stand-up in Greenwich Village clubs like The Bitter End. He has the reputation, in fact, for almost terrifying self-assurance and will brusquely dismiss established stars (casualties include Michael Keaton, Sam Shepard, and Christopher Walken) if they fail to meet his exacting standards on the set. But monomania has made him his era’s greatest comic presence, the one true heir of Charlie Chaplin and Buster Keaton. Allen, however, measures himself against stiffer competition. “I think I’ve now made almost 45 films,” he says. “Some nice ones. No masterpieces. I don’t kid myself. It’s not false modesty. If you look at Rashomon, The Bicycle Thief, The Grand Illusion, as masterpieces, [then] no: I don’t have a film I could show in a festival with those films.”

It is unlikely To Rome With Love will be shown beside them either, though its deft intermixing of four separate story lines, each a gentle farce about innocents beguiled into wrong or risky choices, is superbly executed by its all-star ensemble, which includes Roberto Benigni, Alec Baldwin, and Penélope Cruz. All worked for minimum fees, lest they bust Allen’s roughly $17 million budget, tiny by current standards. Italian critics noted diverting moments—for instance, the scene in which a late-blooming opera singer (the great tenor Fabio Armiliato) is wheeled onto the stage in a portable shower, where he scrubs himself while singing an aria from Pagliacci. But many were disappointed. They had come to the screening expecting a major statement—about Rome, about cinema, about life—from the “most European of American directors.” And they didn’t find one.

That a Brooklyn-born comic whose résumé includes boxing a kangaroo and singing to a dog, should be solemnly lionized in the culture capitals of the continent (since 2001 he has filmed in London and Barcelona along with Paris and Rome), might seem ludicrous, the premise of an Allen “mockumentary” à la Take the Money and Run or Zelig. But for Woody it is a simple fact of life—or rather, of cinema, and its awkward mingling of art and commerce. “For the last 25 years, maybe 30 years, I’ve been doing better in Europe and around the world than in the United States,” he says. “It’s hard for me to raise money here whereas in the European countries and in fact all over the world—China, Russia, Israel—they call me and say, ‘Please come here and we’ll finance.’”

Then came the abrupt descent. In 1992 he and Farrow bitterly split over Allen’s affair with Farrow’s 21-year-old adopted daughter, Soon-Yi Previn (who is now his wife). The ensuing custody battle was a tabloid festival (“Mia Has Nude Pix,” “Tell It to the Judge”). The king of the one-liner was reduced to a punchline and worse, a kind of civic embarrassment. Sparkling Allen jests—“Don’t you see the rest of the country looks upon New York like we’re left-wing, communist, Jewish, homosexual pornographers? I think of us that way sometimes, and I live here.”—sounded tinny and smug. Many recalled Joan Didion’s scathing observation in 1979 that Allen and his audience dwelled together in a privileged “subworld,” adding, “the peculiar and hermetic self-regard in Annie Hall and Interiors and Manhattan would seem nothing with which large numbers of people would want to identify.”

Most shocked of all were Allen’s legions of female fans. Many had swooned for this most unlikely of leading men—undersized, sensitive, vulnerable, “in touch with his feelings.” Now they heard him insist, in a line that might have been lifted from one of his scripts, that “the heart wants what it wants”—in this instance a woman 35 years his junior. Seduced by Woody, his admirers had missed the deeper messages in his art, its tricky blurrings of fact and illusion. Growing up in Brooklyn, dreaming of a life in showbiz, he had learned magic, particularly sleight of hand, adept enough at age 14 to audition for television programs. This early history shaped his later art. Allen himself has labeled his technique “misdirection,” and once told the critic and film historian Richard Schickel, “I lead the audience to believe something, but the movie is really going to be about something else.”

He applies the formula most ingeniously in his subtle mixing of autobiography and invention, filtered through the roles played either by himself or various stand-ins. The schlumpy, childlike “Woody” character is in fact sexed-up and calculating, just like Chaplin’s randy “little fellow.” And like Chaplin, Allen favors young actresses. “People get the impression that these films are autobiographical in an acute way,” he told an interviewer in 1986. “In Manhattan they were completely convinced I wanted to marry a 17-year-old girl”—his costar, Mariel Hemingway. In that case he seems to have fooled himself.

In other cases the message is more ambiguous. Annie Hall and Manhattan, though disguised as soulful, romantic “breakup” pictures, are in reality dark, Pygmalion-like tales of sexual avarice and narcissistic control. There is similar “misdirection” in Crimes and Misdemeanors—perhaps the last of Allen’s great New York films. The character most like him isn’t the glum, moralizing documentary filmmaker played by Woody. It’s the vulgar, preening, power-mad TV mogul played by Alan Alda, who barks “ideas” into the portable tape recorder he pulls out of his pocket, much as the young Woody Allen, his motor always running, would interrupt a conversation to scribble one-liners.

So too in To Rome With Love. Beneath the sunny surface, and the pretty-postcard images of the Piazza di Spagna, lurk hints of Allen’s black magic. In the best told of the four tales, a flirtatious, self-dramatizing actress (Ellen Page) comes to visit a happy young American couple (Jesse Eisenberg and Greta Gerwig) who are living in Rome. From the beginning it’s clear where the story is headed, but as the seduction unfolds, the lines gradually blur. Who is really at the center of this story, the earnest student abroad or the casual tourist, glibly quoting snippets from Ezra Pound and W.B. Yeats? And who is the actual stand-in for Woody?

Allen himself obliquely supplies an answer, when he remarks on his public persona. “People always have the mistaken impression that I was an intellectual when in fact I’m not,” he says. “I first started to read because the women that I liked when I was a teenager were always culture vultures and bluestockings. And I tried my best, and they had no time for me. I read so I could hold my own in conversation with them and not get written off.” Those women, he adds, were of a particular type: “The look that Jules Feiffer used to draw, the black-leather bag, hair down, that Greenwich Village look. No makeup.” If the description sounds familiar, that’s because it’s nearly identical to the fantasy woman in “The Whore of Mensa,” Allen’s classic New Yorker parody from 1974, with its rapier insight that for the culturally avid middle class, the great books had become a kind of aphrodisiac.

It is not surprising that Allen is still plumbing his earliest obsessions. Major artists have always done this, particularly as they age and begin to weigh facts of life expectancy against the drive to keep creating, to find new ways to answer old, haunting questions. In Allen’s case, the numbers look uncommonly good: his father lived to 100, his mother to 95.

And Woody, for his part, is already thinking about his next film. The script is completed, and he’s assembling the cast. He’ll be “shooting four or five weeks in San Francisco, and two weeks in New York.” Two weeks isn’t much of a homecoming, but it’s a start. “I try to sneak in an American picture when I can,” he says. Good to hear. His exile has lasted long enough.

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Woody Allen’s movie “Midnight in Paris” wins an academy award (link to complete listing of all historical figures mentioned in “Midnight in Paris”)

February 27, 2012 – 6:26 am

Sleepers (1973)   Allen (left) wrote, directed and starred in this oddball love story, set 200 years in the future.  It was his first on-screen collaboration with Diane Keaton (second left), who went on to become one of the director’s muses in the early days of his career.   ___________ I have written more on […]

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“Woody Wednesday” Allen new movie

June 20, 2012 – 8:25 am

Stardust Memories (1980) 1/7 Uploaded by ghostrepublic on Oct 24, 2010 Stardust Memories is a 1980 film written and directed by Woody Allen, who considers this to be one of his best films in addition to The Purple Rose of Cairo and Match Point.[1] The film is shot in black-and-white, particularly reminiscent of Federico Fellini’s […]

By Everette Hatcher III | Posted in Current Events | Edit | Comments (0)

Review of “To Rome with Love”

June 20, 2012 – 8:23 am

Jesse Eisenberg – Press Conference “To Rome With Love” Published on Apr 21, 2012 by portugal888 Review: Allen’s ‘Rome’ delivers lackluster love Published: Tuesday, June 19 2012 11:06 a.m. MDT By David Germain View 4 photos » This film image released by Sony Pictures Classics shows, : Alec Baldwin as John, left, and Jesse Eisenberg […]

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Woody Allen, ‘To Rome With Love’ Director, Talks ‘Midnight In Paris’ Success, Acting Career

June 20, 2012 – 8:15 am

How To Recover From a Break Up With Greta Gerwig Published on May 16, 2012 by younghollywood Young Hollywood is hanging out in NYC during the Tribeca film festival, where we chat with rising star Greta Gerwig about her hip slice-of-life movie, ‘Lola Versus’. Greta offers up some advice on how to get over a […]

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Sam Tanenhaus on Woody Allen’s Black Magic

June 20, 2012 – 8:02 am

To Rome with Love Trailer Official 2012 [HD] – Alec Baldwin, Jesse Eisenberg To Rome with Love hits theaters on June 22nd, 2012. Cast: Woody Allen, Alec Baldwin, Penelope Cruz, Jesse Eisenberg, Greta Gerwig, Ellen Page, Judy Davis, Alison Pill, Roberto Benigni, Isabella Ferrari, Sergio Rubini, Antonio Albanese, Fabio Armiliata, Alessandra Mastronardi, Ornella Muti, Flavio […]

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Review: Allen’s ‘Rome’ delivers lackluster love

June 20, 2012 – 7:30 am

Penelope Cruz at “To Rome with Love” premiere Published on Jun 15, 2012 by CBSNewsOnline The Los Angeles Film Festival kicked off with Woody Allen’s latest film starring Penelope Cruz. KCAL 9′s Suzanne Marques reports from downtown L.A. at the premiere of “To Rome With Love.” _______________ Review of “To Rome with Love.” Review: Allen’s […]

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Woody Allen: “I’m Immune to Whether My Films Do Well or Not”

June 20, 2012 – 3:58 am

Voto 10 Web TV – To Rome with Love – Jesse Eisenberg Published on Apr 20, 2012 by voto10cinema Puntata speciale su To Rome with Love della Web TV di Voto 10. Direttamente dal red carpet con Sonia Serafini e Eva Carducci l’intervista a Jesse Eisenberg. ____________________________ I really like the fact that Woody Allen […]

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Review: Penelope Cruz, Robert Benigni Make Woody Allen’s “Rome” Movie

June 19, 2012 – 10:56 pm

Ellen Page with Craig Ferguson 13.06.12 (‘To Rome With Love’) 1080p HD Good review of Woody Allen’s latest movie: Review: Penelope Cruz, Robert Benigni Make Woody Allen’s “Rome” Movie <!– –> After “Midnight in Paris,” you’re not getting–we’re not getting –a sequel, so forget it. Woody Allen’s “To Rome with Love” opens June 22nd after […]

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June 14, 2012 Wall Street Journal interview of Woody Allen and he is still talking about the meaninglessness of existence

June 19, 2012 – 3:30 pm

TO ROME WITH LOVE – conferenza stampa con Allen, Benigni e Cruz http://WWW.RBCASTING.COM Published on Apr 18, 2012 by RBcasting http://www.rbcasting.com Conferenza stampa del film “To Rome With Love”, scritto e diretto da Woody Allen. Tra gli interpreti, lo stesso Allen, Alec Baldwin, Roberto Benigni, Penelope Cruz, Judy Davis, Jesse Eisenberg, Ellen Page e Greta […]

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Woody Allen’s worldview as seen in his movies

June 13, 2012 – 12:02 am

  I love the movie Crimes and Misdemeanors and have written on it many times in the past. This quote below sums up Woody Allen’s worldview which I disagree with. In fact, the person who said this actually could not live with its conclusions in the movie and committed suicide.   Because Allen continues to […]

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“Woody Wednesdays” Woody Allen on God and Death

June 6, 2012 – 6:00 am

Good website on Woody Allen How can I believe in God when just last week I got my tongue caught in the roller of an electric typewriter? If Jesus Christ came back today and saw what was being done in his name, he’d never stop throwing up. If only God would give me some clear […]

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Woody Allen’s career in pictures “Woody Wednesday”

May 30, 2012 – 5:59 am

  Sleepers (1973)   Allen (left) wrote, directed and starred in this oddball love story, set 200 years in the future.  It was his first on-screen collaboration with Diane Keaton (second left), who went on to become one of the director’s muses in the early days of his career.   Bananas (1971)    en cast […]

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Woody Allen on politics “Woody Wednesday”

May 23, 2012 – 7:05 am

Woody Allen on politics. Top political strategist Woody Allen thinks Obama would get much more done as dictator; No, really May 18, 2010 |  2:22 am The notorious and formerly funny movie director Woody Allen is apparently frustrated with the cumbersome operations of American democracy too. The one-time-father-now-husband-of-his-daughter tells the Spanish-language magazine La Vanguardia that the […]

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