Apart from Woody Allen, “the American filmmakers” discussed in this review — which appeared in the March 1976 issue of Monthly Film Bulletin (vol. 43, no. 506) — were apparently Frank Buxton, Len Maxwell, Louise Lasser, Mickey Rose, Julie Bennett, and Bryna Wilson, all credited jointly with Allen for the “script and dubbing” of the 1964 Japanese feature Kizino Kizi that was originally written by Hideo Ando. In recent years, Allen has routinely omitted this film from his filmography, but I persist in finding it one of his funniest. — J.R.
What’s Up, Tiger Lily? [Kizino Kizi]
U.S.A, 1966
[Director: Senkichi Taniguchi]
The wonderful surprise of What’s Up, Tiger Lily? — a modest exploitation exercise which predates Woody Allen’s career as a director, and has inexplicably taken a full decade to reach England — is how much mileage it gets out of what might seem to be a very limited conceit; for sheer laughs alone, it is arguably the most consistently funny film in which Allen has so far taken a hand. Undoubtedly a crucial factor in its success derives from the cheerful fashion in which the American filmmakers foreground their principal strategies. Unlike the dubious practice of an American TV cartoon series which slyly perpetuated the racist stereotypes of Amos ‘n’ Andy by assigning similar voices to animal characters, this 1966 jeu d’esprit avoids the chauvinistic possibilities inherent in a reverse procedure post-dubbing live-action Japanese actors with American voices, many of them evocative of cartoon animals — by beginning with material that is already reeking with American influence, and by taking care to remind audiences of what is being done every step of the way. Read more
From the Chicago Reader (March 26, 1996). — J.R.
David O. Russell, the writer-director of Spanking the Monkey, offers another naughty comedy — this one less independent and much more farcical (1996), with more familiar names in the cast. A young east-coaster (Ben Stiller) with a wife (Patricia Arquette) and baby son is contacted by a psychologist (Tea Leoni) who wants to reunite him with his biological parents — whom he hasn’t seen since infancy — and videotape the results for her research. After attempting to placate his adoptive parents (George Segal and Mary Tyler Moore), he and his family and the psychologist all take off cross-country. The results are watchable enough — sometimes funny, sometimes over the top — and fairly fresh, though also a bit calculated. Leoni has an interesting comic presence one would like to see in toothier material, though this certainly has a few bites. With Alan Alda, Lily Tomlin, and Richard Jenkins. R, 92 min. (JR)
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From the Chicago Reader (December 20, 2002). — J.R.
Gangs of New York
*** (A must-see)
Directed by Martin Scorsese
Written by Jay Cocks, Steven Zaillian, and Kenneth Lonergan
With Leonardo DiCaprio, Daniel Day-Lewis, Cameron Diaz, Liam Neeson, Jim Broadbent, John C. Reilly, Henry Thomas, Brendan Gleeson, and David Hemmings.
For almost the first two-thirds of Martin Scorsese’s 168-minute Gangs of New York, I was entranced. I felt like I was watching a boys’ bloodthirsty adventure story — a blend of pirate saga, 19th-century revenge tale (three parts Dumas to one part Hugo), sword-and-sandal romp, and Viking epic poem, all laced with references to works ranging from Orson Welles’s claustrophobic Macbeth (the beginning of the prologue) to Pieter Brueghel’s spacious Slaughter of the Innocents (at the end of the prologue) and incorporating romantic touchstones from Potemkin (a stone lion), The Lusty Men (hidden possessions), Chimes at Midnight (thrusts and counterthrusts), and The Shanghai Gesture (prostitutes in hanging cages).
Scorsese once described his concept of the film as a western set on Mars, which adds two more playgrounds to the above list and helps explain the kind of historical fantasy he had in mind. I know little about New York’s early history, yet I was impressed by how thoroughly he wanted to steep me in its otherness. Read more
