Midnight in Paris, Woody Allen’s new comedy marks his 41s feature as a filmmaker.
The movie, which is rumored to be a return to form for the up-and-down-and up auteur, will open the 2011 Cannes Film Fest, on May 11.
Though he looks younger, 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 in their 70s and even 80s. (Sidney Lumet, who had worked steadily until 2006, was 86, when he died last week).
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, and the beautiful and the mediocre, the hit and the 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 the most famous and most acclaimed American filmmaker, with a strong cycle of serio comedies.