Coups de feu sur Broadway

A Woody Allen written and directed film that does not include him in a single frame. It may seem strange, but it's true. Allen's "Bullets Over Broadway" deals with a struggling stage writer (John Cusack) who is so desperate to get one of his plays on Broadway in the 1920s that he reluctantly enlists the help of the local mafia crime lord to fund the play. Of course there is a large stipulation. The crime lord's girl must be in the play (hilariously played by Jennifer Tilly in an Oscar-nominated role). Needless to say she's terrible and Cusack struggles with her in the play. However, he has booked A-list actress Dianne Wiest (in her second Oscar-winning role) who is an alcoholic who has seen better days in her career. Tilly's bodyguard (Chazz Palminteri, also in an Oscar-nominated role) sees the play rehearsed firsthand and gives Cusack some directions on the project that Cusack cannot refuse. Palminteri is street smart and knows how people really talk, while Cusack is so educated that his words make no sense to the normal audience. This film is what "The Godfather" would have been like if Allen had directed it. The screenplay is outstanding and Allen's direction has rarely been better. Cusack is fun and hilarious, but it is the supporting cast that makes the movie work. Other than the aforementioned Oscar-nominated actors, there are great turns by several others. Mary-Louise Parker, Tracy Ullman, Jim Broadbent, Jack Warden, Rob Reiner, Harvey Feinstein, and Joe Viterelli are all superb in well-calculated supporting roles. 4 out of 5 stars.

Set in 1920's New York City, "Bullets over Broadway" (1994) tells the story of a young playwright David Shayne who tries to produce his first play. He "stands on the brink of greatness. The world will open to him like an oyster. No... not like an oyster. The world will open to him like a magnificent vagina" but he needs to find money for production first.

The money comes from the gangster Nick Valenti on one condition - Nick's stunningly untalented bimbo girlfriend Olive ("She ruins everything she's in. She ruins things she's not even in") has to play a psychiatrist. Olive is accompanied to each rehearsal by hit-man/bodyguard Cheech who knows how the real people talk and turned to be a greater writer than David. David's leading man, Warner Purcell eats compulsively every time he gets nervous (and there are plenty of reasons for him to get nervous). David's relationship with the girlfriend Ellen suffers when he begins an affair with the talented leading lady Helen Sinclair ("I'm still a star. I never play frumps or virgins.") who is "in the last couple of years... better known as an adulteress and a drunk."

"Bullets over Broadway" is one of my favorite comedies by one of the favorite directors/writers, Woody Allen (I love you Woody, always have, always will - please make your gems, and I will be there to watch them). It has everything I look for in a comedy - brilliance, wit, clever writing, hilarious and sinister twist in the plot, amazing performances, authentic feel of the era and great musical score. "Bullets over Broadway" is pure delight from the beginning to the end. The best I could describe the film - to paraphrase the famous line from John F. Kennedy's Inaugural Address: "Ask not what Art can do for you — ask what you can do for Art".

9.5/10

In 1920's New York a young author, David, manages to get his play off the ground with funding from mobster Valenti. The money allows David to get actors of the caliber of Helen Sinclair and Warner Purcell, however there's a catch. Valenti wants his screechy girl friend Olive to play a key part. This problem is compounded by Olive's minder Cheech who has plenty of constructive criticism on how the play could be better. David tries to balance all these in the name of art.

It's rarely new ground that Woody Allen walks – but how come he manages to make it so damn sparkly and witty? Here he delivers wonderful spoof on theatre people and the assumptions we all make about characters based on what they do or how they talk. The writing is spot on, Allen delivers tonnes of great lines but also creates characters that he expands over the film. It is very watchable and it rarely suffers from the fate on some of Allen's recent comedies – feeling too light or whimsical for it's own good. Instead it is funny but has some points to make.

Of course it always helps if you have a great cast and this does. With people like Warden, Broadbent, Wiest, Tilly, Parker, Fierstein, Reiner, Falco and Palminteri it's hard not to have at least the majority of the cast giving good performances – Wiest, Tilly and Palminteri were my favourites. Cusack was good as the overpowered writer but the one thing I didn't like is the same with many actors who do the traditional Woody role – he gives a slight impression at times rather than cutting out the role as his own.

Overall Woody Allen may not be everyone's cup of tea – but for fans this is him at his whimsical best. Not a classic comedy but a warm Allen film that sparkles in nearly every scene.

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.

In the late 20's NYC, idealistic playwright David Shayne (John Cusack) is trying to get his play on Broadway. He gets finance from ruthless gangster Nick Valenti but he has to cast Nick's talentless loud-mouthed girlfriend Olive Neal (Jennifer Tilly). He is horrified that he's whoring himself out. Her surprisingly-insightful escort Cheech (Chazz Palminteri), not Mr. Cheech, starts making great suggestions. David falls for aging leading star Helen Sinclair (Dianne Wiest) and cheats on his girlfriend Ellen (Mary-Louise Parker). Olive has an affair with leading man Warner Purcell (Jim Broadbent).

It's an irreverent Woody Allen movie taking a sharp jab at the backstage world with a healthy dose of mob violence. There are some hilarious moments but I do want more. I keep thinking that the movie is on the verge of great madcap fun. This is a pretty good Woody movie just below some of his greats.