“Midnight in Paris,” Woody Allen’s new comedy marks his 41th feature as a filmmaker. The movie, which is a return to form for the up-and-down-and up auteur, will open the 2011 Cannes Film Fest, on May 11.
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Though he looks younger than his age, and projects a youthful energey, Allen turned 75 last December. At his rate, he will soon join the short list of American filmmakers–Clint Eastwood included–who continues to be productive and creative well into their 70s and even 80s. (Sidney Lumet, who had worked steadily until 2006, was 86, when he died last week, and so was Robert Altman).
Over the next month or so, we’ll examine Woody Allen’s prolific, always versatile, sometimes brilliant career by revisiting each one of his pictures, the good and the bad, the beautiful and the mediocre, the commercial hit and the artistic flop.
At his prime, from his Oscar-winning film “Annie Hall” in 1977 to “Hannah and Her Sisters,” which was nominated for Best Picture and won Original Screenplay Oscar in 1986, Woody Allen was not only the most famous Jewish director but also the most famous and most acclaimed American filmmaker, with a strong cycle of serio comedies.