1.You know what my philosophy of life is? That it's important to have some laughs, no question about it, but you gotta suffer a little too' because, otherwise you miss the whole point to life. And that's how I feel.

2. Just let me say one thing. My uncle Sidney - lovely uncle, dead, completely - used to say three things. He used to say: Acceptance, forgiveness and love. And *that* is a philosophy of life: Acceptance, forgiveness and love.

一個好故事，還需要一個合適的講述方式。本片的結(jié)構(gòu)有點意思，以幾個成功人士閑聊的方式，一通鋪墊，鏡頭推上去，一位成功人士開講，重點正片開始了。丹尼是一個表演經(jīng)紀，嘮叨、積極、熱情、單身老男人，活雷鋒般的挖掘培養(yǎng)人才，可是只要培養(yǎng)成功，就通通飛走了。這故事講述的是一個歌手從挖掘到飛走的過程。為了這個歌手，丹尼操碎了心，聯(lián)系業(yè)務，培養(yǎng)好習慣，專業(yè)培訓，還要為他代管情人蒂娜，被黑社會追殺，差點丟了性命。當歌手功成名就，愉快的離開了他，只留下他在那里無奈、沮喪和無言的憤怒。蒂娜很內(nèi)疚，一直希望能道歉，獲得丹尼的原諒。結(jié)尾還是蠻溫馨的，寒冷的大雪天里，丹尼追出來，接受了蒂娜的道歉。幾個講故事的總結(jié)陳詞，一致對丹尼表示出贊美之情。講故事者不僅起到了話外音的作用，還以第三者的角度直接暗示了丹尼的善良和熱誠，一個插敘方式的小故事，結(jié)構(gòu)不錯。

伍迪艾倫的電影一如既往的嘮叨，對白極其精彩，如脫口秀段子手一樣，讓觀眾一直沉浸在“有意思”的感覺中。“我的叔叔，著名的糖尿病患者，告訴我人生一定要接受、寬恕和愛?！卑瑐惪偰芤郧纹さ姆绞秸f教、自嘲、說服、講述，真稱得上是臺詞大師。歌手宣布離開的固定機位長鏡頭，落幅是歌手與蒂娜走出畫框，特寫丹尼的無奈、沮喪、憤怒的表情，精彩極了。電影故事的反轉(zhuǎn)技巧，恰到好處，為故事添彩不少。更有意思的反轉(zhuǎn)是最后丹尼同蒂娜一起走在大雪中，庸俗的我更喜歡導演這是暗示丹尼同蒂娜的生活走到了一起，呵呵，雖然庸俗了點，但好人有好報，那多好啊。

音樂真好，營造輕松俏皮的輕喜劇氛圍，出大力了。那首“胃”的歌，真想找來聽一聽。

說起小老頭，從《安妮·霍爾》（Annie Hall，1977）完成電影藝術(shù)上的飛躍之后，整個80-90年代佳作頻出，每隔幾年就要出一部影史經(jīng)典。小老頭拍的電影太多，所以也有不少慢慢被人遺忘，沒有獲得應有的重視，比如1984年的《丹尼玫瑰》（Broadway Danny Rose），又譯《百老匯的丹尼羅斯》，就是被低估的伍迪·艾倫影片之一。

影片很難歸類，可以當做普通的情節(jié)喜劇，或偽人物傳記片，或愛情片。講的是一個演藝經(jīng)紀人的往事。開頭和結(jié)尾是不同時間的同一場景。開頭，幾個中年人在餐廳里談論這位經(jīng)紀人丹尼·羅斯（自然是由伍迪·艾倫扮演）的趣事，所以影片的主體部分由數(shù)個大段閃回構(gòu)成，旁白則來源于其中一人的講述。

丹尼原先是搞笑藝人，后來當了經(jīng)紀人，影片講的是給一個叫盧·卡諾瓦的歌手當經(jīng)紀人的故事。但看著看著你會發(fā)現(xiàn)，要講的其實是他的愛情故事。

整部影片洋溢著歡樂的意大利風情，卡諾瓦紅過，丹尼要把他再次捧紅，把他介紹給業(yè)界大牛一個叫米爾頓的人，安排了一場演出讓米爾頓來聽。這場表演至關(guān)重要，能不能紅全靠它了，因此卡諾瓦非常緊張。他有一個情人叫蒂娜，米婭·法羅（Mia Farrow）飾演，剛開始一直帶著墨鏡，打扮很古怪，幾乎認不出來?？ㄖZ瓦一定要讓蒂娜來看演出，給他精神上的鼓勵。為了瞞住妻子，讓丹尼假裝是她的男伴。

然而當?shù)つ崛ソ铀龝r卻發(fā)現(xiàn)他倆正在電話中吵架，這就尷尬了。蒂娜絕塵而去，跑去參加一場意大利人的婚禮，丹尼也追去了。高潮來了，這里有個意大利人正在追求蒂娜，得知蒂娜還另有戀人后打算自殺，并且把丹尼當做了她的戀人。當然是沒死成，他的兩個黑手黨弟弟打算殺掉丹尼，為兄報仇！從這往后高潮一輪又一輪。先是在餐廳外發(fā)現(xiàn)了追殺者，兩人跑路。丹尼表示自己是陸上希伯來人，無法坐船。在船上蒂娜回憶起她給卡諾瓦另外找了個經(jīng)紀人的事，這個人也會來看當晚的演出。

在短暫的安全過后，倆人還是被黑手黨抓到了，逼丹尼說出蒂娜真正的情人是誰，于是丹尼說出了一個名字……但是他說的是一個口吃的喜劇藝人的名字！他以為這人正在巡回演出，不在本地。但丹尼和蒂娜還被綁在那里，以一種滑稽的方式……丹尼突發(fā)奇想，模仿逃脫大師，以“扭扭”的方式掙脫繩索。到底他們是如何扭的，想象一下便能體會……果然成功逃脫！后來還有一場華麗的歷險，就不多說了，太可笑。

總之，他們趕到了演出現(xiàn)場，卡諾瓦演唱大成功，丹尼也得知蒂娜和卡諾瓦計劃要把自己換掉。失落的丹尼去看望了那位代替自己被暴揍的口吃藝人。

整部影片高潮迭起，笑料不斷，只可惜小老頭給自己安了個差強人意的美滿結(jié)尾。蒂娜整日失魂落魄，意識到自己愛上了丹尼，而丹尼也對蒂娜念念不忘，于是她們在一起了。看看他們在街上說話的那一幕，像不像《安妮·霍爾》的結(jié)尾？

丹尼·羅斯顯然有小老頭自己的影子。伍迪·艾倫自小就有搞笑天才，15歲時就開始在一些報紙專欄上寫段子，后來給廣播電臺寫段子。中學畢業(yè)后，為電視節(jié)目編寫腳本。1961年，正式成為一名喜劇演員，在格林威治村的小酒館、夜總會和小劇場里演出，一時名聲鵲起。后來開始編寫舞臺劇，在百老匯大獲成功，之后正式走向電影，直至今日。

《丹尼玫瑰》獲得奧卡斯最佳導演和最佳原創(chuàng)劇本兩項提名，米婭·法羅憑此片獲得金球獎音樂喜劇類最佳女主角提名。之后此片就再沒掀起什么波瀾，成為伍迪·艾倫眾多優(yōu)秀影片的點綴。

公眾號：電影套盒（laodianyinghualang）

Allen’s ‘80s black-and-white features x 2, ZELIG is a gimmick film, a mockumentary germinated from the inventive idea of a “human chameleon”, but the real star is DP Gordon Willis’ Promethean genius of inserting characters into archival footage and the application of rendering the newly shot footage a ’20’s archival veneer, to the astonishing effect of total harmony and verisimilitude (although the one with Hitler is a bust, the actor’s resemblance is wide of the mark), and to that purpose, ZELIG is an exceptional specimen of cinematic alchemy.

Structure-wise, the whole pseudo-documentary format is devised with the full treatment, like Bob Fosse’s raw and edgy biopic LENNY (1974). Apart from punctiliously coaxed archival footage, retro-style home videos, Allen also uses real-life personages and actors (who play the fictional characters) to give their candid interviews of the subject, you almost believe what they say if the words are spoken from Susan Sontag or Saul Bellow, among other authority figures.

That said, ZELIG’s technical extraordinariness (include half a dozen coined Zelig-themed songs penned by Dick Hyman, that can surely widen your smile) cannot belie the script’s prevailing plainness and archness, it is a missed opportunity for Allen not to fully satirize and assess Zelig’s rise-and-fall in relation to the American society at large and elicit more heady reverberations.

Allen plays Leonard Zelig, a mousy, anonymous guy who can transform his appearance according to his surroundings (Allen is not equipped to show you an actual transformation process, what you get is the simple outcome, he can be black, oriental, Hebrew or corpulent, in correspondent with those who are near him), and becomes a national sensation for his inexplicable “super power”, a cash cow for his instant family, but as an individual, he is miserable and neglect, eventually Zelig’s psychological condition is cured by psychiatrist Dr. Eudora Nesbitt Fletcher (Farrow), through quite a lot psychobabble and mesmerism.

When the story heads to a romantic direction, it betrays Allen’s own limits, not everything ought to be nailed down with a man making a conquest of a woman’s heart. Plus the final trans-Atlantic aviation exploit is so far-fetched that he doesn’t even care to arrange any visual stunt to validate that cockamamie bilge. With its succinct length (79 minutes), ZELIG soars high but crash-lands with a whimper.

BROADWAY DANNY ROSE, released one year after, is about another Allenesque character, Danny Rose (Allen), a talent agent touts unpopular entertainers (balloon formers, a musician working with glasses, a stuttering ventriloquist, just to name a few). When one of his clients, a washed-up lounge singer Lou Canova (Forte, a hearty fellow) has a career revival due to the nostalgic fad, Danny needs to act as a beard of Lou’s mistress Tina Vitale (Farrow), so he can bring her to attend Lou’s big gig in the presence of Milton Berle (as himself), it could be a real breakthrough.

But Tina is not a meek kitten, and this innocuous act backfires, after unwisely go to a party of her ex-Italian lover, Tina and Danny soon are on the run from mafia hitmen. As a self-proclaimed landlocked Jew, Danny is foisted to go aboard a ship (how atrocious!), and later, he and Tina must wiggle their way out of being tied up together (who can stand the torture of upward-and-downward close movements?). But there is another hammer blow awaits Danny when they're out of harm's way, does anyone wonder why he always scrapes the barrel?

Allen is his usual gabby alter ego, you might feel amused or scream “shut up” for his persistent quotes of his Jewish relatives and his penchant for “asking permission to interject”. Against her type, Farrow smartly plays this superstitious Italian broad with forcefulness and ambivalence, plus a layer of her uncharacteristic va-va-voom. Tina is a shallow woman, in the same sense that Lou is a shallow man, but after encountering Danny, she is transformed, even sublimed by his immanent kindness and sophistication (and being the high priest of sapio-sexuality, Allen actually put the exact words into Tina’s mouth), her guilt conscience overcomes the temptation of life on easy street, she becomes a fuller human and Danny’s equal.

Here, the frame device is a gathering of several comedians (Jackie Gayle, Morty Gunty, Corbett Monica, among others) lunching at New York's Carnegie Deli, and Danny’s story is recounted as an anecdotal divertissement, Allen always has a knack of such trimmings (remember the Greek chorus in MIGHT APHRODITE, 1995), and both ZELIG and BROADWAY DANNY ROSE has style, scale, wit and profuse amity and gags in offer, they are among Allen’s most innovative works and can put you under a nostalgic spell of the halcyon days.

referential entries: Allen’s THE PURPLE ROSE OF CAIRO (1985, 8.2/10); BULLETS OVER BROADWAY (1994, 8.1/10); Bob Fosse’s LENNY (1974, 8.6/10).

Title: Zelig

Year: 1983

Country: USA

Language: English, German

Genre: Comedy

Director/Screenwriter: Woody Allen

Music: Dick Hyman

Cinematography: Gordon Willis

Editing: Susan E. Morse

Cast:

Woody Allen

Mia Farrow

Deborah Rush

Mary Louise Wilson

John Rothman

Susan Sontag

Saul Bellow

Peter McRobbie

Rating: 7.4/10

Title: Broadway Danny Rose

Year: 1984

Country: USA

Language: English

Genre: Comedy

Director/Screenwriter: Woody Allen

Music: Dick Hyman

Cinematography: Gordon Willis

Editing: Susan E. Morse

Cast:

Woody Allen

Mia Farrow

Nick Apollo Forte

Edwin Bordo

Paul Greco

Frank Renzulli

Gina DeAngeles

Herb Reynolds

Sandy Richman

Gerald Schoenfeld

Olga Barbato

David Kieserman

Sandy Baron

Corbett Monica

Jackie Gayle

Morty Gunty

Will Jordan

Howard Storm

Jack Rollins

Milton Berle

Rating: 7.5/10

《丹尼玫瑰》

《丹尼玫瑰》講述的是喜劇明星和其經(jīng)紀人的故事。伍迪在電影中扮演熱心的喜劇經(jīng)紀人丹尼·玫瑰，他與落魄的喜劇明星們相依為命，照料他們，安排他們工作?？僧斶@些喜劇明星開始走紅的時候，他們常常把最初幫助他們的經(jīng)紀人換掉了。

伍迪本人也是這么做的，在拍攝《傻瓜入獄記》時，他還要參考制片人的想法，但隨著他的信心逐漸增長，他不再依賴他們的看法了?！敖芸恕ち_林思常常說，經(jīng)紀人這一職業(yè)的可悲之處就在于，他的工作越成功，他的客戶就越不需要他。起初的時候客戶就像剛出生的小雞一樣不知所措，但當他逐漸強壯，聲名鵲起，工作邀約不斷，等到他經(jīng)驗豐富起來，對藝術(shù)越來越自信，就不再需要經(jīng)紀人了。經(jīng)紀人的工作就是讓自己失業(yè)，在演藝圈，經(jīng)紀人被解雇是很常見的事情?！薄榈稀ぐ瑐?/p>

如果你注意觀察，就會發(fā)現(xiàn)伍迪的電影時長都非常短。（文章結(jié)尾附錄電影時長表）對此，伍迪認為這和導演天生的生理節(jié)奏有關(guān)，每個人感受事物的節(jié)奏是不同的?！皩τ谖襾碚f1小時40分鐘就已經(jīng)很長了，一旦超過了那個時間，我就沒東西可講。導演的作品反映著他的節(jié)奏以及新陳代謝?！薄兜つ崦倒濉氛麄€故事非常簡短，只有84分鐘，一個小時多一點就講完了整個故事。電影小巧、聰明，非常流暢。鏡頭從一家餐廳開始，由聚餐的一群喜劇人講述傳奇喜劇明星經(jīng)紀人丹尼·羅斯的故事。氣氛愉快而輕松，就像每一個我們在飯桌上興致勃勃談起的有趣故事一樣?！兜つ帷っ倒濉肥且徊亢喍獭⒂腥?、完整的電影。可惜伍迪堅決走了故事片的路子，不再在電影中拍那些讓人興奮的無厘頭喜劇小段子。此時的伍迪更渴望一個完整的故事，他不希望用間歇性的無厘頭喜劇段子破壞故事劇情的流暢性，這是我們值得注意的。

伍迪第1部導演作品《傻瓜入獄記》時長：85分鐘

伍迪第2部導演作品《香蕉》時長：82分鐘

伍迪第3部導演作品《性愛寶典》時長：88分鐘

伍迪第4部導演作品《傻瓜大鬧科學城》時長：89分鐘

伍迪第5部導演作品《愛與死》時長：85分鐘

伍迪第6部導演作品《安妮·霍爾》時長：93分鐘

伍迪第7部導演作品《我心深處》時長：93分鐘

伍迪第8部導演作品《曼哈頓》時長：96分鐘

伍迪第9部導演作品《星塵往事》時長：89分鐘

伍迪第10部導演作品《仲夏夜性喜劇》時長：88分鐘

伍迪第11部導演作品《西力傳》時長：79分鐘

伍迪第12部導演作品《丹尼玫瑰》時長：84分鐘