Without words I’ve been after seeing Zelig, good, just one word: brilliant. Until now I thought Annie Hall was the best of this director, but I see no, that does not, and certainly, as you go along the cycle that I’m seeing him, I will bring me more pleasant surprises. For now, today, I stay with Zelig. Excellent, brilliant, original, funny, ironic, intelligent, all these adjectives are few defining Zelig. It is, simply, one of the best movies I’ve seen.
So clear, so simple. Some may think that I am exaggerating, but I believe that not. The proposal of the clarinetist of the Jew, of the New Yorker, the great Woody Allen, is bold and striking, both visually and through a full script of Picardy. Allen simply speaks of what wants to talk of his favorite themes, and above does so with grace, without much extended in duration, and leaving us speechless, amazed, admired. This unlikely story serves to create a fake documentary, by the way what had already made in making the money and runs, on a curious man, mentally ill, which is capable of transforming into any other person, by strange as it may seem. New York Giants takes a slightly different approach. Zelig equal is an Indian, than a black, that a fat, than a doctor, and the same is with Pope Pius XI as with Hitler, with Chaplin, Al Capone, etc. Fabulous starting point for a masterpiece. We are in the 1920s in the United States, times of depression, jazz times, times of gangsters, times of characters who jump from anonymity to fame.
And there is where Zelig, a chameleonic man. Of course, the case draws the attention of public opinion, of science, Dr. Fletcher (Mia Farrow). They study, they analyze, they undergo therapies. Everything to discover that he is a man who only wants to be loved by peers and be loved, love that you’re in that Dr. Fletcher. But what could only be a bright idea for a movie becomes something else: in a tongue-in-cheek comedy, a satire of the documentaries, in a critique of a time and of a society that is at once an admiration and a huge desire to embed in this society, a desire to be recognized collectively and passing of individuality to the mass. Allen also criticises the power of media to elevate someone who is a story by itself itself, as it is Zelig. And there’s more, there is also a critique of science, especially in the psychology of opportunistic psychiatrists is climbing on the bandwagon of attractor of the personality of their patients, and have, in documentaries to television stations, this or any other technique, this or any other analysis, this or other new experiment. It is a tribute to all those who have been subjected to psychiatric study. Allen had outlined many of these ideas in his previous films, but never with such mastery as in Zelig. Zelig is also a way for Woody Allen to express an inner ambition, which manages to become a famous director. He is a kind of Zelig has been integrated into the society and which has been made public, which has been the subject of cover pages of Press and which has been analysed by its viewers. Yes, Zelig is also a little Allen, or Allen is also a little Zellig. Well, in definitva, 1983 Woody PhD in cinema and has, at long last, everything you wanted to count on making money and runs, or memories, or Manhattan or Annie Hall. Retrieved from carmelo blog original author and source of the article.