Clustered around a table over lunch at New York's Carnegie Deli, a group of film critics are having an enthusiastic discussion about Woody Allen, who has been among the most influential comedy directors since the 1970s. The group toss around the titles of a few of his films - 'Annie Hall,' 'Manhattan,' 'The Purple Rose of Cairo' - and everybody nods in silent agreement, recognising each of these as classics of cinema. A fourth critic, emboldened by the candidness of his companions, tentatively suggests 'Broadway Danny Rose,' but is not quite met with the enthusiasm he had hoped for. These critics, it seems, cannot quite agree on this particular film.
CRITIC A: "OK, you've asked that I explain myself, and I personally believe that 'Broadway Danny Rose' is one of the director's best efforts out of the films of his I've seen, in any case. The title character, played by Allen, is a truly tragic figure, a dedicated "little man" who pours his heart and soul into the performers he manages, only to be unceremoniously dumped as soon as they make it big. Allen is excellent in the role as always and his character is given more than enough witty and quotable lines. You wouldn't think that an ordinarily meek and delicate actress like Mia Farrow could play a hard-edged, chain-smoking Italian (ex)-mob wife like Tina Vitale, but she manages to pull it off perfectly. Also spare a moment to consider Nick Apollo Forte in his first and only appearance in a film, convincingly portraying Lou Canova, the childish, drunken has-been crooner who, thanks to Danny Rose's management, is finally making a comeback."
CRITIC B: "I'm afraid I wasn't quite so enthusiastic about the film as you were. Yes, the acting was very good, but the story itself left a lot to be desired. Danny and Tina's day of adventures involving the Italian gangsters was fun and entertaining, but it didn't really amount to anything significant. The only truly memorable part of the film was the final ten or so minutes, with Danny ditched by his protégé despite all his hard work. Even then, the conclusion seemed to be stretched out for too long, but I'll admit that it was made up for by Danny's touching silent reconciliation with Tina on a snowy New York street. Additionally, I know that Mr. Allen is fond of filming in black-and-white, but it just didn't seem to be serving any real purpose here. Maybe he just thinks that cinema looks better without colour."
CRITIC C: "I'd also like to say a thing or two about 'Broadway Danny Rose.' You just mentioned that the story itself seemed light-weight to you. Perhaps it was, and Allen just wanted to deliver some good ol' light entertainment (who can forget the hilarious shoot-out around a leaking helium container?!), but that ending is certainly not light-weight, and it hits you when you are least expecting it. The film is a very sensitive, contemplative exploration of an anguished character: Danny Rose is confident and witty on the outside, but inside he harbours a large amount of grief. Whenever he pours his heart into an inept performer, he loses everything as soon as he has succeeds in making them a star, and must start back at the beginning. Perhaps the most depressing thought of all is that he knows that this will never change. This isn't Woody Allen's best movie, but I would recommend it without a second thought."
Having reached something of an agreement, the table of film critics acknowledge their assent with a quiet murmur and return to their lunch. As you've no doubt already noticed, these characters are sheltered within my own mind. And, believe it or not, I actually agree with all of them!
CRITIC A: "OK, you've asked that I explain myself, and I personally believe that 'Broadway Danny Rose' is one of the director's best efforts out of the films of his I've seen, in any case. The title character, played by Allen, is a truly tragic figure, a dedicated "little man" who pours his heart and soul into the performers he manages, only to be unceremoniously dumped as soon as they make it big. Allen is excellent in the role as always and his character is given more than enough witty and quotable lines. You wouldn't think that an ordinarily meek and delicate actress like Mia Farrow could play a hard-edged, chain-smoking Italian (ex)-mob wife like Tina Vitale, but she manages to pull it off perfectly. Also spare a moment to consider Nick Apollo Forte in his first and only appearance in a film, convincingly portraying Lou Canova, the childish, drunken has-been crooner who, thanks to Danny Rose's management, is finally making a comeback."
CRITIC B: "I'm afraid I wasn't quite so enthusiastic about the film as you were. Yes, the acting was very good, but the story itself left a lot to be desired. Danny and Tina's day of adventures involving the Italian gangsters was fun and entertaining, but it didn't really amount to anything significant. The only truly memorable part of the film was the final ten or so minutes, with Danny ditched by his protégé despite all his hard work. Even then, the conclusion seemed to be stretched out for too long, but I'll admit that it was made up for by Danny's touching silent reconciliation with Tina on a snowy New York street. Additionally, I know that Mr. Allen is fond of filming in black-and-white, but it just didn't seem to be serving any real purpose here. Maybe he just thinks that cinema looks better without colour."
CRITIC C: "I'd also like to say a thing or two about 'Broadway Danny Rose.' You just mentioned that the story itself seemed light-weight to you. Perhaps it was, and Allen just wanted to deliver some good ol' light entertainment (who can forget the hilarious shoot-out around a leaking helium container?!), but that ending is certainly not light-weight, and it hits you when you are least expecting it. The film is a very sensitive, contemplative exploration of an anguished character: Danny Rose is confident and witty on the outside, but inside he harbours a large amount of grief. Whenever he pours his heart into an inept performer, he loses everything as soon as he has succeeds in making them a star, and must start back at the beginning. Perhaps the most depressing thought of all is that he knows that this will never change. This isn't Woody Allen's best movie, but I would recommend it without a second thought."
Having reached something of an agreement, the table of film critics acknowledge their assent with a quiet murmur and return to their lunch. As you've no doubt already noticed, these characters are sheltered within my own mind. And, believe it or not, I actually agree with all of them!