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Now this is something sort of rare, though not really: Woody Allen mixing satire and drama, and the satire actually even more convincing than the drama. The opposite was in a more serious affair, Crimes and Misdemeanors, where art and murder and infidelities all get into one big pot of personality crises. This is the same case with Bullets Over Broadway, though this time Allen's tackling of the ego-maniacal crutches of the Broadway scene- the aging star Helen Sinclair (Dianne Wiest, one of her very best performances, funniest too), the bumbling boob Olive Neal (Jennifer Tilly, appropriately annoying- and then how it sort of infects the outsiders to the major Broadway scene, one the protagonist David Shayne (John Cusack, excellent here), and Olive's bodyguard, Cheech (Chazz Palminteri, a character he could play in his sleep, but played pretty well anyway). Cheech is hanging around during rehearsals of David's first play he's writing and directing, following getting funding (on the condition of Olive as a psychiatrist) from a heavy-duty mobster, and soon he's suggesting ideas, and in the process becomes David's uncredited collaborator. But meanwhile infidelities are abound, with David falling for the wonderfully self-indulgent Helen, and a goofy romance between Olive and the thespian Warner Purcell (Jim Broadbent), leading to a purely ironic climax.

Allen's skills at navigating the neuroses of all the characters is very skilled, and sometimes the one-liners are surprisingly funny, all based on the personalities (Wiesst especially, in a voice that is a little startling at first, gives a classic line about the world 'opening' up, and her running gag with "don't speak"). Even with the more dramatic connections, which doesn't seem to be as much of Allen's concerns since it's pretty one-note with the mob side of things (and, frankly, the fates of Olive and Cheech sort of seem a little too contrived for the sake of the irony par for the course), we do get a very memorable bit to make things worth the while, like David and Cheech's down to earth talk at the bar. But if there's anything else to recommend more strongly it's for the sharpness of the script in the theater scenes, the backstage banter, the hilarious tension stirred up by grudges and ill-timed romances. Plus, there's a bit of an added treat for fans of past Allen films, where he casts Rob Reiner in a role sort of similar to that of Wallace Shawn in Manhattan. Not a masterpiece, but a very enjoyable work that's successful on its dark-light terms.

Sadly, I've been let down by most of Woody Allen's recent comedies. So it was most rewarding indeed to see the Woodman back again true to form (after a lengthy drought) with 1994's Bullets Over Broadway." Fun, foamy, and clever, it has everything we've come to love and expect from the man.

While "Take the Money and Run" and "Bananas" first turned trendy audiences on to his unique brand of improvisational, hit-and-miss comedy episodes, and the more neurotic, self-examining cult hits like "Annie Hall" and "Manhattan" cemented his Oscar-winning relationship with Hollywood, the comedy genius has stumbled mightily in this last decade. Attempting to contemporize his image with the coarse, foul-mouthed antics of a Coen or Farrelly brother (see "Mighty Aphrodite") is simply beneath him, and has been about as productive as Stevie Wonder taking a turn at hip-hop. Moreover, casting himself as a 65-year-old romantic protagonist with love interests young enough to be his grandchildren (see "Curse of the Jade Scorpion") has left a noticeably bad aftertaste of late. With "Bullets Over Broadway," however, Allen goes back to basics and wisely avoids the pitfalls of excessive toilet humor and self-aggrandizing casting, and gives us a light, refreshing bit of whimsical escapism. Woody may not be found on screen here, but his presence is felt throughout. Though less topical and analytical than his trademark films, this vehicle brings back a purer essence of Woody and might I say an early innocence hard-pressed to find these days in his work.

John Cusack (can this guy do no wrong?) plays a struggling jazz-era playwright desperate for a Broadway hit who is forced to sell out to a swarthy, aging king-pin (played to perfection by Joe Viterelli) who is looking to finance a theatrical showcase for his much-younger bimbo girlfirend (Jennifer Tilly, in a tailor-made role). The writer goes through a hellish rehearsal period sacrificing his words, not to mention his moral and artistic scruples, in order to appease his mob producers who know zilch about putting on a play. The rehearsal scenes alone are worth the price of admission.

Aside from Allen's clever writing, brisk pace and lush, careful attention to period detail, he has assembled his richest ensemble cast yet with a host of hysterically funny characters in spontaneous banter roaming in and about the proceedings. Cusack is his usual rock-solid self in the panicky, schelmiel role normally reserved for Woody. But even he is dwarfed by the likes of this once-in-a-lifetime supporting cast. Jennifer Tilly, with her doll-like rasp, is hilariously grating as the vapid, virulent, and thoroughly untalented moll. Usually counted on to play broad, one-dimensional, sexually belligerent dames, never has Tilly been give such golden material to feast on, putting her Olive Neal right up there in the 'top 5' fun-filled film floozies of all time, alongside Jean Hagen's Lina Lamont and Lesley Ann Warren's Norma Cassady. Virile, menacing Chazz Palminteri as the fleshy-lipped Cheech, a "dees, dem and dos" guard dog, reveals great comic prowess while affording his pin-striped hit man some touching overtones. Dianne Wiest, who has won bookend support Oscars in Woody Allen pictures (for this and for "Hannah and Her Sisters") doesn't miss a trick as the outre theatre doyenne Helen Sinclair, whose life is as grand and exaggerated off-stage as it is on. Her comic brilliance is on full, flamboyant display, stealing every scene she's in. Tracey Ullman is a pinch-faced delight as the exceedingly anal, puppy-doting ingenue, while Jim Broadbent as a fusty stick-in-the-mud gets his shining moments when his actor's appetite for both food and women get hilariously out of hand. Mary-Louise Parker, as Cusack's cast-off mate, gets the shortest end of the laughing stick, but lends some heart and urgency to the proceedings.

While the play flirts with a burlesque-styled capriciousness, there is an undercoating of seriousness and additional character agendas that keeps the cast from falling into one-note caricatures. And, as always, Woody's spot-on selection of period music is nonpareil. With healthy does of flapper-era Gershwin, Rodgers & Hart, Cole Porter, Hoagy Carmichael, not to mention the flavorful vocal stylings of Al Jolson and Eddie Cantor, Allen, with customary finesse, affectionately transports us back to the glitzy, gin-peddling era of Prohibition and slick Runyonesque antics.

I remember the times when the opening of a new Woody Allen film was a main event. As such, "Bullets Over Broadway" is a comedy valentine to such days. In any respect, it's a winner all the way, especially for Woodyphiles.

Woody Allen had the inspired idea to let another actor played what would have been a tailor-made he wrote for himself. As a director, Mr. Allen has always done well. Of course, there are exceptions, but in "Bullets over Broadway" show an inspired Mr. Allen doing what he does best. This comedy, written in collaboration with Douglas McGrath, is a happy take on a situation that only this director would have been able to create.

We are shown two different worlds. In one, the roaring twenties gangsters have the control of all illegal activities in Manhattan. On the other, we meet an idealistic writer, David Shayne, who wants to have his play produced. Enter the capo Nick Valenti. This man has enough money to buy his current paramour, the dizzy Olive Neal, whatever her little heart desires. Thus, the vehicle chosen is the drama David has written.

Thus begins a frantic comedy of errors where the theater and the mob intermingle with funny results. We watch as the play gets produced on Broadway how the different factions come together, each one with a different idea as to what to do with the play.

The cast is first rate. John Cusack, as the ambitious playwright, does some of his best work in showing what this man is going through. Dianne Wiest, one of the most accomplished actresses around, makes a splash with her take on Helen Sinclair, the first lady of the American theatah! Jennifer Tully is excellent as Olive Neal, the girl from the provinces with high aspirations, but no talent.

Chaz Palmintieri, as Cheech, the mobster that understands what's wrong with the play is hilarious. The late Joe Venturelli was born to play his mobster Nick Valente. Jack Warden is perfect as the producer. Tracey Ullman and Jim Broadbent are simply marvelous as the cast members of the play in production. Mary Louise Parker and Harvey Fierstein, Rob Reiner are also seen in smaller roles.

"Bullets over Broadway", as most of Mr. Allen's films has a great musical score of the jazz songs of the era. Mr. Allen, in taking a seat behind the camera, delivers one of his best and funniest films to date.

Of all the Woody Allen films that I have seen (not that many, I confess) this movie and "Everyone says 'I Love You'" are the ones that I have enjoyed the most. "Bullets Over Broadway" is a very funny, clever, and entertaining comedy. The acting is top-notch; Dianne Wiest is fantastic, Jennifer Tilly and Chazz Palminteri are great and John Cusack is as good as ever, that is: he is extremely good.

So, I enjoyed this film immensely, I laughed a lot, and I thoroughly recommend it.

Woody Allen is a genius indeed. Once more in this movie he presents us with a mixture of intelligence and humour conveyed by his famous witty dialogues where the characters seem to play with serious things but are indeed giving us through humour an image of what people think and feel about life nowadays and about the relationships that spring among them. This story mix up with considerable success two ingredients that "a priori" seem not to combine very well: the world of theatre with the world of mafia and gangsterism in the crazy twenties of last century. All the characters are very typical and greatly performed: the young playwright looking for a place in the sun, the ham actress who overacts a lot even in real life, the mafia boss who imposes his girlfriend on the playwright as an actress, the Greenwich Village intellectuals and so on. In my opinion however the feeblest character is the one of the gangster who becomes also playwright from a certain moment on. Some of his interventions lack authenticity. But this is only a minor flaw in the whole. Like all the other Woody Allen's movies this one seems superficial at first sight but it's well made and deep enough to amuse us and simultaneously make us think and feel life in it.