Customer Reviews

Wild Man Blues

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4 star:		(9)
3 star:		(3)
2 star:		(5)
1 star:		(1)

 

 

If you're a fan of both New Orleans jazz and/or the movies of Woody Allen, Wild Man Blues is a must buy. This documentary is interesting in that it gives us a glimpse into Woody in an unfamiliar setting. Here, Woody abandoned his beloved Manhattan for Europe. Also, his focus here is on playing traditional jazz (as opposed to the psychoanalysis, self-doubt, and relationships with women found in most of his movies).

The more things change, however, the more they stay the same. As we watch Woody trot across Europe with his band, we see the line between Woody Allen the clarinetist and the protagonists in his movies blur before our very eyes. All of the doubts, fears, guilt, wit, and desire of his characters display themselves here in many subtle and not-so-subtle ways. Woody the musician is essentially the same character as Alvie Singer (Annie Hall), Isaac Davis (Manhattan), and Mickey Sachs (Hannah and her Sisters), and the other memorable characters from Woody's classic films.

From a musical standpoint, the film is interesting in unevenness. Woody's usually-no-better-than-average clarinet playing is juxtaposed with outstanding playing by some of NYC's best jazz musicians. (Cynthia Sayer, Eddy Davis, John Gill, etc.) This juxtaposition leads to performances by the band that go from weak (Paris) to spotty (Spain) to brilliant (London). The uneven nature of the musical performances leads Woody to make many hilarious comments that would make his best protagonists proud.

I would recommend this movie to any of the countless fans of Woody's movies. Watching Wild Man Blues will amplify, augment, and deepen one's understanding and appreciation of those classic Allen protagonists. Once you watch it, you'll probably want to pop in your Annie Hall DVD immediately. Even if (like me) you've seen it many times before, you'll have a whole new perspective on that great movie after you've seen Wild Man Blues.

I LOVE this documentary of Woody Allen's tour as a Clarinetist with his small band through Europe. To see him as a musician is a delight (especially if you have a heart for Dixieland tunes) but what makes it precious are all the glimpses "behind" the scenes and just to be able to accompany him visually on his journey. You'll get a good idea of the human being called Woody Allen who just can't stop cracking jokes even when it's more than obvious than he's not enjoying all of the aspects of his journey himself - and the scene with his parents in the end is the highlight of all...more won't be said! Go and watch this if you are a Woody Allen fan like me! You certainly won't be disappointed!

Having long enjoyed Allen's films, I was fascinated to get an inside look at what the human being Woody Allen is like. I found it especially moving to see this small-sized guy looking so tiny amid the hordes of fans crowding around him, and I admire his bravery more at having allowed himself, an intensely private person, to become "public" for the sake of the New Orleans jazz he loves. The interaction with Previn is especially surprising, since the media portrays her as a silent figure. My favorite detail was that his Oscar award statues sit like so many knick-knacks on his parents' upper shelf. If only the directors who live in Hollywood were as down to earth as Allen. Made me realize the difference between the Hollywood crowd and directors who chose to live outside the cocoon. Allen jokes about himself as a "scumbag" at one point, feeling like a real outsider amid opulence. This is a touching, interesting film, and the music is very charming. I also loved the fact that when he makes a witty side comment, his companions are clearly so used to it that they barely notice any more that he is constantly making sly wisecracks.

I'm not a Woody Allen guy. I've only seen one of his movies, and although I enjoyed it, I wasn't hooked. Then came Wild Man Blues, a documentary about Woody's private side on a blues tour throughout Europe. Allen, who is a superb clarinet player, charms us with his fast-firing wit and keeps us rocking as he and his New Orleans Jazz band tickle our musical funny bones in one European country after another.

A very funny film that shows just how Allen is truly a comedic genius, be it in his films or in reality.

If you are looking for another new film written and directed by Woody Allen, then be forewarned, this is NOT actually a Woody Allen film! (Apparently many people have accidentally bought this tape expecting another musically-themed Allen comedy like "Sweet and Lowdown" or "Radio Days"!) In fact, except for a few passing references to "Interiors" and "Manhattan" by Soon Yi Previn, this film is does really deal with the movie-making side of Woody Allen at all. "Wild Man Blues" is a low-budget documentary directed by longtime Allen cohort Barbara Kopple, and it successfully documents the Woody Allen that is NOT as well know to the public,...the jazz musician! As many of Woody's hardcore fans may know, Woody plays the clarinet and has been leading his own New Orleans-style Jazz combo for quite some time. (Remember when he skipped out on the Academy Awards ceremonies the year that "Annie Hall" won for best picture? He said that he had one of his jazz band gigs that night, which was more important to him!) Kopple's cameras document Allen's band on a European concert tour, and we get to see some on-stage performances, as well as some off-stage levity amongst the band members. We are also treated to some candid and revealing moments between Woody and Soon Yi, mostly shot in luxurious European hotels. Allen appears somewhat cranky when it comes to dealing with his mobs of European fans, and some viewers have found his attitude towards them to be a bit offensive. However, there is also a scene towards the end of the film where Woody takes Soon Yi to visit his elderly parents, and the whole situation quickly transforms into some of Allen's sharpest sarcastic humor. These scenes also give us a clue as to where some of Allen's famous "neurotic" screen persona may have originated! If you are a hardcore Allen fan who would like a rare glimpse into his private world, or if you share Woody' taste for old-time Jazz, then by all means, get this movie! But if you were hoping for another fictional comedy/drama from one one of America's best directors, then you may just want to skip over "Wild Man Blues".

I really like Woody Allen and it's still kinda cool seeing one of my favorite filmmakers playing my favorite instrument (the clarinet) in my favorite musical style of 1940's-New Orleans-period Jazz. There's no doubt that Woody Allen has talent for filmmaking, but we've heard little about his musical talents until now. Unfortunately, "Wild Man Blues" doesn't satisfy as a documentary or a Woody Allen film, but a voyeuristic view of a pretty unglamorous 2-week tour.

"Wild Man Blues" shows Woody go through a European tour with his Jazz band, stopping in major cities like Paris, Milan, Madrid, Bologna & London. His performances are to large crowds of 1,000 or more people, and it turns into an event that is obviously uncomfortable for the notoriously recluse filmmaker. We get a pale "behind the scenes" view of Woody in real life, which personally reminded me of the MTV Real World method: Film everything and keep the most interesting parts, which are few & far between. As the movie progresses, Woody gets comfortable enough for the ever-present camera to start making some of his trademark quips about anomalies in general; broken light switches, forgotten breakfast items, etc. This wears off some of the effect, since it seems we are not watching a good documentary, but a film with inconsistent dialogue.

I personally would rather have a movie of an entire performance of the Jazz band, rather than a tour of fine hotel rooms, backstage areas and curious crowds, interspersed with a few minutes of performances. The film seemed to focus on Woody & Soon-Yi, while pretty much neglecting the rest of the band. Interesting comparisons were left un-addressed: Sure, Woody and Soon-Yi stay in 5 star hotels, but where does the band stay? How do they feel about their musical performances often being overshadowed by his celebrity? Woody gets a private plane, but no other musicians seem to fly with him? That would have been much more interesting that spending 5 minutes of film being spent on a broken shower.

The one surprise of the film is the revealing of the roles of Woody & Soon-Yi in their relationship. I was not expecting this, but I definitely came away thinking that they interact quite well as a couple. But once again, I love Woody Allen films, but am pretty uninterested in his personal life.

I've seen Woody Allen & his Jazz band live in NYC, and that was a huge treat unto itself. I hope one day a film focusing on the music-performance is released.

Wild Man Blues is a documentary about Woody Allen and his Dixieland jazz band. They play at a club in New York every Monday, but someone got the bright idea to do a European tour, and make a documentary about it!?!?! Whoever that was, was brilliant; I can say without the slightest trace of irony.

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Woody Allen: With intelligence comes great responsibility.
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European audiences love all of his films, not just the ones that are popular here in the U.S. Throughout his European Tour he was besieged by fans, and they came to the concerts to see the comedian, the auteur, but they politely listened to his music. They enjoyed the music. Many thought that he played better than they expected. He loved the music, and his sincerity won them over.

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Woody Allen: The Europeans like pictures that drone on, and I'm good at making pictures that drone on.
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The band gets to tour Europe and draws large crowds, but the audience is there to see Woody Allen, movie star, comedian, and director. There is some tension with the band. Woody Allen doesn't really talk to them much, except through the banjo player, the band leader. Though the audience might be coming to see Woody, he is just the clarinet player. He would prefer to just play the music, but the audience expects him to say something, so he gives a little introduction before each show. Woody does seem to be at least as good as the rest of the band when it comes to Dixieland jazz, and they are a very good Dixieland jazz band.

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{On why he likes playing blues} Woody Allen: There's nothing there between you and the pure feeling of playing. There's no cerebral part to it.
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At one point Woody needs a new reed or maybe his clarinet needs some work. His sound is dead as a doornail. He even says, hey, my sound is dead as a doornail. He plays a great solo, though. A blues where the dead as a doornail sound works to his advantage. It is uncanny. There is another scene where Woody visits the Selmer clarinet factory. He is playing a metal clarinet, and it sounds fantastic. He wants to buy it, but incredibly, the Selmer people say that it is a rare instrument that they no longer manufacture, and it is not for sale. Not even for Woody.

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Woody Allen: I'm appropriately animate for a human being in the context in which I exist.
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Wild Man Blues shows us that Woody is a cranky old man, constantly kvetching--a hypochondriac, even. He is anything but a wild man, except that he is married to Soon Yi, a much younger woman who is the adopted daughter of Mia Farrow. Besides the man and his music, Wild Man Blues also reveals his relationship with Soon Yi. Maybe you hated Woody Allen over this, or maybe you thought he was a lucky guy, but after watching WMB you just might find yourself feeling sorry for the guy, a poor old man being bossed around by a young dragon lady in training.

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Woody Allen: This is Soon-Yi Previn, the notorious Soon-Yi Previn.
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In a revealing scene Woody tells Soon Yi that even Soon Yi and her chronologically challenged friends would find Annie Hall amusing. She responds that she tried to watch Interiors when she was nine but found it tedious, and her favorite Woody Allen film was Manhattan. She never saw Annie Hall, though she had met Dianne Keaton personally. On a side note, Soon Yi appeared in a Thanksgiving scene in Hannah and Her Sisters.

Near the end there's a scene with Woody and his parents. He gives the awards he has accrued on his European tour to his father, who takes them, but is not overly impressed with any of it. His mother seems friendly enough, but he accuses her of raising him improperly. He accuses her of being a bad mother, never supporting what he was trying to do: sequestering himself in his room, practicing the clarinet, listening to the radio, writing comedy bits. He was preparing himself for a life in show biz, but they probably would have been happier had he opted for a sedate life as a pharmacist. His mother confesses that she was hoping both he and his brother Chris would settle down with nice Jewish girls.

Bottom line is that Wild Man Blues is a rare opportunity to see what Woody Allen is really like, and hear some great music. He's not as funny in person as he is in the movies. Or he is more like Interiors than Annie Hall.

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Woody Allen: They won't pay ten cents to see one of my movies, but passing in a gondola, they love it.
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Top Ten Films of Mia Farrow (with fun facts and trivia courtesy of imdb dot com):

1. Rosemary's Baby (1968) Directed by Roman Polanski, whose pregnant wife actress Sharon Tate was murdered in 1969 by Charles Manson and his followers, who titled their death spree "Helter Skelter" after the 1968 song by The Beatles, one of whose members, 'John Lennon,' would one day live (and in 1980 be murdered) in the Manhattan apartment building called The Dakota - where Rosemary's Baby had been filmed. The Dakota Building on Manhattan's Upper West Side was renamed The Bramford for the film. It was on the set of this film that Mia Farrow received divorce papers from then-husband Frank Sinatra.

2. The Great Gatsby (1974) Originally, Truman Capote was the screenwriter, and his draft included making Nick a homosexual and Jordan Baker a vindictive lesbian. Capote was fired, and Francis Ford Coppola finished his draft in three weeks. Francis Ford Coppola lived in "West Egg," aka Great Neck, former home of F. Scott Fitzgerald, at the time of writing the screenplay for "The Great Gatsby." The rights for the novel were purchased by producer Robert Evans in 1971 so that his wife at the time, Ali MacGraw, could play the part of Daisy. A shooting script wasn't ready yet, and MacGraw agreed to star in The Getaway (1972) as filler. During the production of The Getaway (1972) MacGraw fell in love with co-star Steve McQueen and left Evans for him. Mia Farrow was then picked to play Daisy. Mia Farrow was pregnant during filming and the director filmed around that by including close up shots of Farrow, and having her wear a lot of flowing costumes.

3. A Midsummer Night's Sex Comedy (1982) Woody Allen wrote the role of Ariel for Diane Keaton, but she couldn't take the part because she was busy promoting her film Reds (1981) and preparing for Alan Parker's Shoot the Moon (1982). The first time Woody Allen appeared in one of his own films as part of an ensemble cast. Prior to this, he was either the main character or not in the film at all. The first time Mia Farrow appeared in a Woody Allen film. Woody Allen wrote the screenplay in 2 weeks.

4. Zelig (1983) To create authenticity, the production used actual lenses, cameras and sound equipment from the 1920s, and used the exact same lighting that would have been done. In addition, 'Gordon Willis' took the exposed negatives to the shower, and stomped on them. In order to help create the look of genuine footage from the 1930s, DuArt, the lab that handled processing, called some of their experienced technicians (who were experienced with processing techniques of the 1930s) out of retirement.

5. Broadway Danny Rose (1984) The reason Mia Farrow wears sunglasses most of the film is that Woody Allen did not feel she could pass herself as a tough Italian "broad", so he had her wear the sunglasses most of the film to hide her eyes, making her seem more sultry and mysterious. The only time she removes the sunglasses is when her character is supposed to be more vulnerable.

6. The Purple Rose of Cairo (1985) Woody Allen has said more than once that this is his favorite of the movies he's made. After this film was previewed, word got back to Woody Allen that if he just changed his ending, he could have a big hit. Allen declined, saying that the ending is one of the reasons he made the film. In an interview in Esquire, Woody Allen was asked why he didn't make a happy ending to the film. Allen replied, "That *was* the happy ending."

7. Hannah and Her Sisters (1986) Many of Hannah's scenes were filmed in Mia Farrow's actual apartment. Allen said that Farrow once had the eerie experience of turning on the TV to a chance broadcast of the movie thus viewing her own apartment on TV while she was sitting in it. According to USA Today, upon the film's original release, a movement was afoot to try to make Allen's script the first screenplay to be nominated for a Pulitzer Prize. The poem Eliot gives Lee which contains the line "nobody, not even the rain, has such small hands", is the poem "somewhere i have never travelled, gladly beyond", by e.e. cummings. The book of poems by e.e. cummings is entitled ?Complete Poems 1913 ? 1962?, and the poem ?Somewhere? is on page 366. With a box office gross of over $40 million, this film represented Woody Allen's most financially successful film until Match Point (2005) in 2005. Four of Mia Farrow's real-life children appear in this film. Two appear as Hannah's son and daughter in the movie, while the other two (including Soon-Yi Previn, who Woody Allen would eventually marry in 1997) appear as young guests in the Thanksgiving scenes.

8. Radio Days (1987) This is the only Woody Allen film in which both of his frequent collaborators and longtime companions Mia Farrow and Diane Keaton appear.

9. September (1987) Director Woody Allen cast and shot this film twice, without telling the original cast. Woody Allen decided to make the film for two main reasons. One was because he had always wanted to do a "chamber piece", a film with a small cast (there are only six principal characters, and only nine in the entire film) in a single location. The other was for the location itself, Mia Farrow's Connecticut country house, which inspired Woody Allen to write the screenplay with the intention that it would be shot at the house. Unfortunately, by the time Allen finished the screenplay, it was winter and the location was unusable for a movie so firmly planted in September. The entire movie (which takes place in Vermont) was shot on a single soundstage at the Kaufman Astoria Studios in New York. According to Mia Farrow's autobiography "What Falls Away", Woody Allen filmed two or three versions of every scene, took all of the footage into the editing suite, cut the film together and then decided that he hated it. He then rewrote the entire script, fired and recast virtually every major part, and re-filmed the entire thing. This meant that he doubled his production costs and came in well behind schedule. Allen was reportedly keen to do it all again

10. Husbands and Wives (1992) Hoping to piggyback on the scandal surrounding Woody Allen's break-up with Mia Farrow, TriStar opened the film on 865 screens, the largest amount ever given over to a Woody Allen picture. They were rewarded with an opening weekend of $3.52 million, the biggest ever for an Allen film. Woody Allen said in an interview that the reason he shot the film the way he did was that he wanted to break the usual rules of filmmaking. He cut scenes right in the middle of dialog, he used hand held cameras for no particular reason and did not care if he showed the side or the back of a performer's head during a scene. Allen said for this reason, he felt this film was one of his best. Sydney Pollack stated that although he liked working on the film, he did not like the character he played. Contrary to general perception, Mia Farrow's role is not autobiographical. Indeed, Woody Allen originally wrote the Judy Davis part with the idea of Farrow playing it. Farrow chose to take on the role of Gabe's wife instead as it meant less shooting time for her.

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Woody Allen goes to the confessional and says "Father, I have sinned. I am an elderly man, and yet, every night I am making love to a woman one third my age."

The Priest recognizes his voice and says "Why are you telling me this? Aren't you Jewish? Shouldn't you be telling your Rabbi?"

"I'm telling him, I'm telling my barber, my butcher--I'm telling EVERYBODY!"

If you like music and Woody Allen, you will love this endearing documentary by Barbara Kopple. Go behind the scenes as Woody, Soon-Yi, and his band go on a European tour. Allen's wit and quirky but charming personality expose him for the humble and intelligent man he is. But, oy...his mother!

Woody Allen's blues are clear in this film. I think it's called depression is some parts. The jazz is good like a memory of jazz from a time we imagine. There is a scene when lights go out. I think it is in Venice. After some time, a single light keeps the show going. I liked that and will never forget it. Woody loves his own innocence. He is uncomplicated in this film. But you see that he is attracted to complexity. His mother was great in the film, a real natural. But I can see why he left her house and wanted the Dream. Here's looking at you kid! Thanks for romanticising the New Yorker lost in Europe so well. Henry James would be proud!

Woody Allen's blues are clear in this film. I think it's called depression is some parts. The jazz is good like a memory of jazz from a time we imagine. There is a scene when lights go out. I think it is in Venice. After some time, a single light keeps the show going. I liked that and will never forget it. Woody loves his own innocence. He is uncomplicated in this film. But you see that he is attracted to complexity. His mother was great in the film, a real natural. But I can see why he left her house and wanted the Dream. Here's looking at you kid! Thanks for romanticising the New Yorker lost in Europe so well. Henry James would be proud!