Eine Sommernachts-Sexkomödie

Despite being one of Woody's lesser works this film still succeeds to entertain. The sight of Woody on a flying bicycle is worth watching the film alone, as is the wonderful scenery. Despite not having an outstanding script, though good by anyone else's standards, Woody's take on Bergman & Shakespeare's tale is a success that makes the summer seem like a magical time of escapism and hope. Woody succeeds in the modern take on the Shakespearian theme of confusion & love and manages to make a warm and pleasant film

While this movie is not considered to be one of Woody Allen's masterworks, the sight of him in the countryside he so feared in Annie Hall and Manhattan, surrounded by crickets, rabbits, frogs and wild mushrooms, is a funny one, especially for his fans. Shakespeare was clearly on Allen's mind when he made and titled this movie--not only A Midsummer Night's Dream, but also The Tempest. There are obvious references (Mia Farrow's character's name is Ariel), and more subtle ones in the dialogue, when Woody's character talks about a "half goat" mystical lover. The film also marks Allen's first union with Mia Farrow, and the two work wonders together here which would be proved in several subsequent films (it's quite sad that their off-screen relationship ended the way it did). It is beautifully filmed and Allen uses music as effectively as he did in Manhattan. There are not a lot of belly laughs or memorable one-liners, but it is fun to watch nevertheless, and everyone in his ensemble cast seems to be having a great time.

Cute and charming, if not really much more.

Gordon Willis's photography is nowhere near as amazing as his earlier collaborations with Woody, and the film doesn't have any wildly funny moments.

But the writing is witty, and the acting solid if not triumphant. It just doesn't feel like a Woody Allen film somehow. More like a nice, solid, unassuming French farce.

That's not a bad thing, and this film is still better than 99% of what comes out of Hollywood, with a sweeter, more upbeat tone than usual for Allen. It's just coming on the heels of masterpieces like 'Annie Hall', 'Manhattan', and 'Stardust Memories', and just before other great films like 'Zelig' and 'Purple Rose of Cairo', it can't help but pale a bit in comparison.

First,i should say that i am an inconditional Woody Allen fan. I saw this movie for the first time yesterday and i had a GREAT time! Tony Roberts is just great in that one! I wonder why Woody did'nt cast him more often? I won't give you the plot as you already know it. I'll just add that A Midsummer Night's Sex Comedy is a different Woody Allen film. This time he focus on the country in is beautifulness instead of the more common urban movie he used to shoot. And that gives this movie something unique compared to Woody's other works. The jokes and the situations are very funny and i laughed a lot! So if you are a Woody Allen fan and haven't seen that one,forget about all the bad words that movie got and enjoy a realy entertaining viewing!

When I saw this film I thought it was from Allen's early period and I thought of it as a prototype Manhattan but when I checked the chronology I discovered that it belongs to his middle period and postdates both Annie Hall and Manhattan. It really is like Manhattan set in the woods of New England. As far as I can see, it is his first film with Mia Farrow and his camera is besotted with her as are all the male characters in the film. Mary Steeburgen also looks good although I can never work out whether she really can act or whether she is just having trouble with her contact lenses. The scenes of New England are beautifully shot and are ravishing to look at. I thought the element of mysticism sat uneasily with the rest of the film.

This film is said to be Allen's take on the Bergman film Three Smiles of a Summer Night although I cannot comment on this because I last saw the Bergman film 35 years ago at a student film society. Maybe the mystical element in Allen's film is lifted from Bergman. There are also obvious parallels with A Midsummer Night's Dream with the mortals swapping partners and with spirits flitting about in the woods. In keeping with the subject matter, Allen uses Mendelssohn for the incidental music rather that his usual classic jazz numbers.