Woody, der Unglücksrabe

TAKE THE MONEY AND RUN is Mel Brooks-like in structure and gags, but definitely Woody Allen at his comical best. Its not his greatest picture by any means, but perhaps the best of his early slapstick flicks (SLEEPER, BANANAS). "Virgil Starkwell" has a hard time stealing right from the start. When a criminal gets a gumball machine "stuck to his hand", you know he's in the wrong gig. Woody Allen is right at home with this innocent, documentary-style drip on the unintentional hilarity of 60's crime documentaries. Woody, or "Virgil", seems to be playing Woody as usual, something we all know runs through his entire body of work. This movie is very much like his innovative ZELIG of 1983, a black and white docu-spoof about a fictional chameleon.

Jackson Beck's narration is PERFECT in making the outrageous material seem "serious". It no doubt inspired the short spoofs "Saturday Night Live" would go on to produce for years, investigative reporting seemingly important, yet ridiculous in content. "Virgil's" parents are in disguise (Groucho Marx nose and glasses) whenever they are "interviewed". The chain gang escape is one of the funniest sequences I have ever seen. Woody also moves into romantic territory with the beautiful Janet Margolin, who had a nice, fat purse for "Virgil" to steal, but also has a quick reaction to his inept robbery attempt and, of course, they fall in love. She is there for "Virgil" to live for during his always brief prison stays and to pick out his clothes for a robbery. There are some familiar elements here, most obviously the beautiful young girl falling for a middle-aged homely Woody.

TAKE THE MONEY AND RUN is all about raw comedic filmmaking and mockery. It is not a situational film at all, just a bunch of perfectly cohesive episodes of this perfectly moronic bank robber, who spells gun G-U-B. Wouldn't that throw us all off if we were the bank tellers taking a note during a stick up ?

Virgil Starkwell was a product of his environment. Born into a poor family living in a rough community, Virgil soon finds companionship with a rough crowd and gets sucked into a life of petty crime from a very young age. An interest in the cello is not enough to set him straight and his acts continue into adulthood. Love, a powerful motivator, proves to be his undoing as he tries to rob a bank to fund his relationship.

We all talk about Allen's "earlier, funnier" films (even he does) but this probably doesn't extend the whole way to the very start of his film career because this, his second film, isn't up to the standard of Love & Death, Annie Hall and the like. The film is a mockumentary looking at the life and career of failing small-time criminal Virgil Starkwell and as such there is a basic narrative to provide some structure. Supposedly tightened up significantly in the editing room, the film is still pretty baggy at times and doesn't really have the material to carry it to even 85 minutes. However what the film does do well is produce plenty of imaginative moments that made me laugh out of nothing. I think of the scene where Virgil hires a car to run his blackmailer down, the spelling errors on the notes and others that are imaginative twists on what you expect and funnier for it. The one liners (and dialogue generally) is not as strong as Allen fans would hope for because the humour tends towards the sight gag.

This isn't a criticism because the sight gags are mostly good but the problem is one of consistency. I wasn't laughing anywhere enough for this to be a memorable comedy and there were quite a few lulls. These came particularly where the film had a section of narrative or dialogue rather than fast visual snippets under the narrator – it is the latter that are the strongest parts of the film but they can't come quick enough and there isn't enough to support it in-between. Allen makes a good lead of course and I found him to be very good at delivering the visual comedy. Margolin is a bit too stiff; not good enough at the comedy or the dramatic stuff. The rest of the support cast does what they are required to do but the film does belong to Allen and his script. Credit should go to editor Rosenblum for making it as tight as possible and keeping the visual gags flowing as best as he can while limiting the weaker dialogue bits.

Overall then an amusing film that will appeal mostly to Woody Allen films. There are plenty of imaginative comedy moments but it is not as consistent as it needed to be to consider it on the same level as Allen's finest films (that would follow this in the 1970's in my opinion).

Very early Woody Allen winner has the all-time lovable loser trying to make ends meet with girlfriend and future wife Janet Margolin. Allen, obviously pretty unskilled in most everything, decides that he can do just what the title of the film says and achieve true happiness with his one true love. Documentary-styled footage makes the picture unfold in a quietly uproarious way as Allen uses corny techniques used by most news organizations to tell a story that would have looked very odd without his insight being involved. Allen's films only work because he makes them work usually and that is definitely the case with "Take the Money and Run". Once again he shows unlimited potential and would use this movie, more than any other, as a spring-board for much future success in the 1970s, 1980s and beyond. 4 stars out of 5.

Now I'm rarely a man to agree with any 'consensus view' of particular films, yet I very much have to go along with the tide as regards 'Take the Money and Run' - only the second Allen film I have commented upon here, though I have seen many more.

Basically, the film is enjoyable viewing throughout, but not an entirely consistent, successful comedy. Allen had yet to hone his skills in fashioning feature length films; I have reservations more so for 'Bananas', less so for 'Sleeper' and 'Love and Death'; the two films with which he really hits his stride. This is his first film as a director and thus maybe it is to be expected that we'll see a transitional film. One can tell Allen is trying to work out a formula to translate his largely verbal stand-up humour to film. He really does a pretty good job of this. There are plenty of very good jokes and a generally very lightweight, genial tone to this picture. It is seen through by this, yet is hamstrung by its very effervescence; the film is likeable and won me over, yet it is too scattershot in approach and delivery to really satisfy.

Woody himself is an instantly winning figure in his comic persona; that of a physically diminutive and verbally bumbling Jewish intellectual. With in this film the vocation of a bank robber; a displacement which results in much of the expected amusement. There's not yet any attempt to go very deep into this character of his, but this is a pure, light comedy. No real New York or indeed Bergman or Chekhov reference points yet.

One is reminded in Allen of David Thomson's insightful comments on Chaplin and the persona he projected to audiences; trying to charm them and win them over by a certain vulnerability and status as 'underdog'. It is very true that in many of Allen's films, like Chaplin, he is right at the centre of the film, and the world outside is not portrayed with any sense of the mechanics of reality. Conflicts are never all that serious or convincing; he draws from a limited pool of character types, in socio-political terms. Allen has done films with other leads; though his usual concerns always find their way through. 'Take the Money and Run' is full of the Chaplin tendency to have bullish, physically imposing figures, or indeed perhaps a wider society, threatening the 'little man'. There is a wish-fulfilment woman in the languid person of Janet Margolin's Louise; as a character more a projection than of flesh and blood or shades of grey. She works well as a slightly wan, attractive comic foil for Allen, who doesn't mind getting her hands dirty, but she's really not Diane Keaton.

This film is slight, no question about that... it fails under real scrutiny, yet it is largely very enticing stuff; an early glimpse of Allen getting his filmic technique in order. If you like what the man does - and surely most (wryly bespectacled) film cineastes such as I do! - then you are sure to enjoy this film. Just don't count on it being a triumph in the major key.

Rating:- *** 1/2/*****

For those of you who think that all Woody Allen's movies are vapid stories of neurotic rich New Yorkers, you need to see his early movies. "Take the Money and Run" is a good example. Allen plays Virgil Starkwell, an inept criminal. No matter what sort of crime he tries to pull off, something always goes wrong. Probably the funniest scene is when he tries to escape from jail like John Dillinger did. Other scenes include the time when the authorities use him in an experiment, with a silly result.

Anyway, Woody Allen's old movies were really funny. The thing was that he created a bunch of outlandish premises and infused his New York Jewish humor. This is what comedy is all about!