The best documentary that isn't really a documentary I've ever seen...
Added 12/23/2009
I absolutely LOVE that this is called `the thinking persons `Forrest Gump'' because we all know how I feel about that mediocre film, and the fact that this film, while carrying with it similar characteristics, manages to blow that Tom Hanks atrocity out of the water is just so richly rewarding for me. `Zelig' is smart, engaging, unique and unforgettable.
1983 is a weird year for me. There is a lot going on that I really wanted to just love but wound up feeling completely under-whelmed by (I really thought that `Scarface' was supposed to be some great big heap of awesome but it wound up being a well acted heap of sloppy, and `The Year of Living Dangerously' seemed to squander all its potential in a predictable love story) and yet, my personal Best Picture ballot is an odd mix of films I never expected to remotely enjoy. We have a foreign language family drama from Ingmar Bergman (ok, so I really expected to slobber all over `Fanny and Alexander' and I did), an engaging and provoking collection of home movies (`Sans Soleil' is just utterly astonishing), the conclusion to George Lucas's science fiction epic (say what you will, but `Return of the Jedi' is just as perfect as the previous two efforts were), a comedy by Martin Scorsese (`The King of Comedy' changed the way I looked at Martin Scorsese as a director) and this BRILLIANT faux-documentary by Woody Allen.
Narrated by Patrick Horgan (in true documented fashion), `Zelig' tells the story of Leonard Zelig, a man with a strange social disease that causes him to change his physical and emotional makeup in order to adapt to his surroundings. He changes his speak patterns, his life story and his physical appearance in order to blend into his surroundings. Dr. Eudora Nesbitt Fletcher becomes obsessed with uncovering the reasons behind Zelig's condition. Through recorded sessions we learn about an uncomfortable situation where Zelig is asked if he has read a popular novel only to lie to escape embarrassment, thus initiating his conformity.
For me, this film speaks strongly on two subjects; our instinctive desire to fit in and our instinctive desire to shun what we don't understand. Zelig desires to be liked so much that he uncontrollably conforms to his surroundings. As a result he becomes shunned as an even greater outcast by those who uncover his strange ability.
Without ever coming across preachy or saccharine (not in the SLIGHTEST), `Zelig' tells us that it is okay to be different, it is better to be ourselves and it is okay to accept something we personally don't understand.
Woody Allen and Mia Farrow are great here, perfectly adapting themselves into the films genre. I don't know if you can really classify this as acting, since they really appear in a series of photographs (some of which are altered flawlessly) and a few scattered clips, but there is an effortless quality to their work here. What is even more commendable is Woody Allen's direction. The look and feel of this film is so genuine and authentic that you would swear you were watching a real documentary.
It is astonishing, truly.
I am not a huge fan of the documentary (although I am always fascinated by the BBC documentaries because they are so bizarre), and I know that this is not a `documentary' in the literal sense (since it is purely fiction) but this film flows like a documentary, of the most engrossing kind. It's worth noting that this is NOT a mockumentary or a parody in any way shape or form. This is a very serious film despite its comical qualities and should be regarded as such. I applaud Woody Allen, because I really don't think any other director could have pulled this off quite like he did.
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offbeat and funny
Added 12/15/2009
"Zelig" is one of the lesser seen movies of Woody Allen. His wit shines throughout. If you have a place in your heart for nostalgia and laugh out loud funny, get this movie.
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A Unique, Original Film by Woody Allen
Added 11/9/2009
This 1983-mockumentary from director Woody Allen is one of his most fascinating, unique films. Allen portrays Leonard Zelig, a human chameleon who frequently appears during the course of history. The term chameleon never clicked with me while reading synopsis' of this film, but Zelig is quite literally a chameleon, having the ability to transform into people he's around making it easy to fit in with anyone; black, Jewish, doctors, etc. The plot, told with "old," narrated footage of Zelig and intercut with present-day "interviews," follows Zelig as he gains national attention for his remarkable ability. Doctors are baffled and eventually find themselves giving up on Zelig, with the exception of Dr. Eudora Fletcher (Mia Farrow), who thinks she can help him.
Allen incorporates himself into actual, historical footage throughout the film (the funniest being one involving Hitler) and he does it seamlessly. Considering Allen didn't have the digital technology of today, it's impressive how effortlessly and perfectly he had himself weaved into this pre-existing footage. Equally impressive though are the scenes filmed specifically for the film, which look and feel exactly like footage from the era. While the film sounds like it's driven by a gimmick, Allen never lets you in on the fact that it is a gimmick `cause every shot, every song just feels right.
The film blends Allen's filmmaking styles, with both his witty, subtle humor and some dramatic elements. While it's not exactly more "accessible" than other Allen films, it's experimental nature will appeal to non-Allen fans. There are films that share similar themes and attributes with Zelig, but it's one of Allen's most original films.
Overall, it's a fascinating and amusing entry in Allen's filmography. At only 71 minutes, Woody Allen gives us one of his most memorable creations. I don't think it's a perfect film, but it's so good that the bad isn't worth mentioning.
GRADE: A-
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The Inventive Woody
Added 12/22/2008
"Zelig" is presented in such a straight documentary format that you have to remind yourself this is not about an actual historical subject. Patrick Horgan so typifies the refined British narrator that he is able to incorporate some old gags with great ease.
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Humoristic dissection of the human mind
Added 6/15/2008
Woody Allen stands, by far, as my favorite director of all times. I have seen all his movies, since I was a kid. Of course, there are the big ones, the masterpieces, but I find a great pleasure in some of his -for the mainstream- less known plays, such as Zelig.
This not comedy, this is pure genius in the understanding of human nature. It is Allen's essay of the desperate need of people to fit into society, to be accepted, to belong. This is the kind of movie that separate Allen for the ordinary and make him of the greatest genius of cinema.
Psychology in cinematic therms, I always consider Zelig as the ultimate dissection of the social distress: how an person needings to be part of something drive him to the point of eliminate his own individuality.
The movie's approach as a fake documentary is also one of the biggest achievements of Allen, a brilliant portrait of humanity.
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A terrific collection of 1980s Woody Allen cinema.
Added 2/27/2010
Has there ever been a more prolific film director than Woody Allen (at least, in the post-studio system era)? He has only missed a handful of the last thirty years (2004, 1991, 1981), producing his low-budget dramas like clockwork. Allen's persona has become such a comic caricature these days (and it usually was one to begin with; Allen is his own best impersonation), but, when asked, he can in his prime be a very strng actor, and he is surrounded in these films by a reliable cast of professionals. "The Woody Allen Collection", one of three really excellent box-sets of his films available here, in this case covers the period from 1982 to 1987. Some spoilers follow.
In the set itself, the films are ordered alphabetically for some reason, rather than in chronological order, which makes more sense (the order being as follows):
"A Midsummer Night's Sex Comedy" - easily the least-famous of the six films collected here, this one is most notable for being the first collaboration bewteen Allen and Mia Farrow, his off-screen partner who would be a feature of more or less all his work (including all five of the other films in this collection) until their rather spectacular breakup in 1992.
"Zelig" - one of the quirkier entries in Allen's filmography, this is an imitation documentary about a man named Leonard Zelig, a supposed 1920s pop culture figure who was a "human chameleon" who takes on the characteristics of the people around him. Making use of innovative special effects twelve years before "Forrest Gump" to put Zelig into old newsreel footage and photos, it's a clever piece, if not especially emotionally involving. This is one of a number of films in Allen's filmography with sci-fi/fantasy content, but because of his minimalist (magical realist, one might say) approach, he's largely avoided being classified as a genre director.
"Broadway Danny Rose" - filmed in black and white, this is another of Allen's quasi-autobiographical films, drawing on his time as a comedian and participant in the New York entertainment circuit. Danny Rose (Allen), is a talent agent responsible for the most obscure acts; his lastest attempt at a big break is a washed up lounge singer he has rehabilitated, but there's a catch: the singer wants his mistress Tina (Farrow) present for his make-or-break performance. Thus begins a comic odyssey, as poor Danny finds himself the sights of the mob. It's a decent comedy most of the way through (with one of Allen's most empathetic performances), elevated by the final act, an expert mix of sadness and gentle uplift (including a masterful final tracking shot) that is among Allen's best work.
"The Purple Rose of Cairo" - another of Allen's genre efforts, in which an abused Depression-era housewife (Farrow) is stunned when a character from her favourite movie (Jeff Daniels) walks off the screen to sweep her off her feet. Allen evinces no real interest in the genre's mechanics, instead running with the scenario with low-key absurdism (the studio and actor are both concerned about liability issues regarding the now-living fictional character). Then there's the ending, a deliberately downbeat punch that drives home the movie's examination of the difference between fiction and the real world. This is one of Farrow's best performances, in the eminently pitiable role of Cecilia; Jeff Daniels pulls off an excellent double-role as both character and actor.
"Hannah and her Sisters" - one of Allen's most acclaimed movies (it earned him his third Oscar, for the screenplay, as well as acting awards for Dianne Wiest and Michael Caine), this is a relationship drama (as well as a mild existential one) revolving around three sisters living in New York. Populated with many familiar faces (including, in minor roles, the voice of Marge Simpson, and a young Julia Louis-Dreyfus), this ends up being much more upbeat than "Purple Rose", the film preceding it, both about life and the power of entertainment. This is warm and humanistic, though at points the narration by the various characters can be a bit too direct. Possibly my favourite film of the set.
"Radio Days" - the final film in the collection, and likewise fairly upbeat, this is a largely plotless nostalgia tour through scenes from Allen's youth. There are fairly well-drawn characters, appealing in a variety of vignettes relating to the significance of radio in their lives (even if often only as background music). My personal favourite sequence involves a would-be radio employee played by Mia Farrow, who survives getting taken for a ride by a mob hitman who turns out to be from her old neighbourhood. The cast is populated by a grab-bag of actors from past Woody Allen movies (Danny Aiello and Jeff Daniels among them, as well as the three actresses most associated with Allen's films: Farrow, Dianne Wiest, and, in a cameo, Diane Keaton). This is a likeable minor work in Allen's canon.
Overall, an excellent deal for film fans.
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Win Some, Loose Some
Added 4/5/2008
Certainly not the best of Woody. Yes, there IS Zelig and Hannah and Her Sisters, but the rest of the collection I think even Woody would like to forget.
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More of a Good Thing
Added 9/16/2007
"Hannah" is a grand film, one of the best in years, a film which stands up after some twenty years. The acting is magnificent, beginning with Michael Caine , of course, but there isn't a weak moment in the entire picture. One grand slam would be enough of anybody, but this collection includes another minor masterpiece, "Purple Rose." This one is deep and moving, as well as being cute and fun. One element of Allen's genius is his love of silliness, a painful talent to possess, according to Allen, who evidently prefers the dark side. Still, there is that Groucho Marx-quality in him and it is shown well here, where actors hop on and off the screen, and shock us with their sweet innocence. Farrow takes steps here that will mature into one of the great film persona of the decade. She has it all, and Allen had the genius to see it.
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