Bananas

This attractive movie is intermittently hilarious , considered to be a spoof of the Cuban revolution and Fidel Castro . It deals with a botcher New Yorker called Fielding Mellish (Woody Allen) , he's a consumer products tester , as his life is like a guinea pig . Along the way, he becomes infatuated with Nancy (Louis Lasser) , a political activist . But he is dumped by his independient sweetheart and although both of whom take two divergent ways in their lives, those paths cross once again. And Fielding runs off to San Marcos where he joins the rebels , as the coward soldier is forced to enlist the Castro-alike revolution and eventually becomes President of the country. The Revolutionist That Shook the World With Laughter !. More Moving Than Prunes!

Amusing picture fable is plenty of the filmmaker's signature angst-ridden philosophical comedy . Hilarity slips into vulgarity rather too often in this usually in-and-out early Woody Allen comedy which embroils the little man to travel a tiny Latin American nation and becomes involved in its latest rebellion . There is a lot of parody and even ¨Eisenstein's Battleship Potemkin¨and other jokes for moviegoers . Allen is known to be inspired and influenced by Russian filmmaker Sergei Eisenstein as well as Ingmar Bergman. The picture turns out to be an ironical and tongue-in-cheek look at South American revolutions . The majority of the scenes and some set pieces in Bananas were improvised , permitting actors play freely, at times. As Woody Allen felt he had filmed the right shot , he would move to capture on to the next one. Nice and hilarious acting by Woody Allen at his best , as a jilted adventurer who goes into revolution , resulting in fateful consequences . His comic style paid homage to a number of classic comedians which included Bob Hope , Charles Chaplin and The Marx Brothers . Being competently played/directed by Woody Allen , showing his own wistful sense of intelligent comedy . Co-stars his then wife Louis Lasser who gives a likeable acting as his activist girlfriend , along with Carlos Montalbán , Nati Abascal, Miguel Ángel Suárez, René Enríquez and Jacob Morales , the latter has many of the best moments when , drunk with power , he declares Swedish to be the new national language . And you'll have to keep your eyes peeled to spot Sylvester Stallone in his second movie performing an henchman.

Witty as well as lively musical score by Marvin Hamslich contributes much , including South american songs . Colorful as well as evocative cinematography by cameraman Andrew M. Costikyan , being shot on location in Puerto Rico, Playa de Cerro Gordo, Puerto Rico (Fidel camp), Wall Street, Manhattan, New York City. Lavish and stunningly produced by Charles H. Joffe , Allen's ordinary producer . This enjoyable motion picture was vigorously directed by Woody Allen , being his third film as a director. Made during a prolific and clever period in which he acted/directed various really hilarious films , such as : What's Up, Tiger Lily?, Take the money and run , Pussycat, Pussycat I Love You , Sleeper , Everything You Always Wanted to Know About Sex but Were Afraid to Ask , among others . Subsequently he made several masterpieces. Including a series of movies in which he provided nice direction, investing care enough, wit and warmth, such as : Crimes and misdemeanors , New York stories, September, Radio Days, Hanna and her sisters , Broadway Danny Rose, Zelig, Stardust memories , A midsummer Night's Sex Comedy, Interiors, Manhattan and Purple rose of Cairo. Rating 7/10. Better than average. The movie will appeal to Woody Allen enthusiasts. Woody Allen has said that this movie was "my funniest picture to that time".

In the film's opening, sports commentators report on the assassination of the leader of San Marcos, an obscure South American country. Then, the reporters document the takeover of the country by the top general. its tragic and its funny. Meanwhile, Fielding Mellish (Woody Allen) tests products for a leading Manhattan manufacturer but has a hard time getting a date. Unbelievably, an erstwhile and attractive political activist, Nancy (Louise Lasser) comes to Fielding's door, wanting a signature for the condemnation of the San Marcos situation. After many attempts, Mr. Mellish gets a date and the two start a relationship. But, all too soon, Nancy breaks Fielding's heart, insisting he has no leadership qualities. Eureka! Fielding sets off for San Marcos, where he joins the rebels. Will he become the person Nancy wants? This hilarious look at the truly tragic volatility of some Western Hemisphere countries has many wonderful moments and lines. Allen and Lasser are the stars, while a cadre of little known folks blend in nicely. Naturally, the scenery in Manhattan contrasts hugely with those of the "tiny country to the south" while Allen's script is as priceless as ever and his direction is sure-fire. Want to laugh, laugh, laugh? Get Bananas.

Bananas is like a cookie-batter of all of those early Woody Allen jokes all plopped into a bowl and shaken around. It's a film loaded with political jokes, but without a direct focus aside from Cuba and dictators and the like. There are numerous sexual jokes, including one of Woody's funniest scenes involving a magazine (the buying and holding on a subway, very silent comedy-like). And even Howard Cosell becomes an iconic figure in Woody's comedy in the brilliant opening scenes. The plot is very loose, so if you're looking for that look elsewhere. Also, to put it mildly, some of the jokes may not work at all for some viewers of today. But it's the go-for-broke irreverence of the picture that has it still worth viewing today. Much of Woody's own verbal bits are very good, but it's also worth to note how the physical comedy- while crude and a little off-key- also has a good ring to it. Unlike the director's later films, you can still sense that he's trying to 'get' how to make a film, and so in trying to do anything he can think of to get a laugh, of course, some of it doesn't work. For example, in Cuba the gag where the gargantuan pile of dung is carried down the stairs with the Lain music in the background gives a grin, but not as big a laugh as might be intended. Indeed, this might be Woody's most 'immature' film, while still containing some of his more biting, satirical jabs at dictators and oddball politics. Woody would still have this wild, go-for-broke style of humor more akin to some of his quirkier short stories in other films of the early 70s. While this isn't as successful in that regard as Sleeper or Love and Death, I'd still watch it again if it was on TV; even the romantic subplot, undercooked in comparison with the rest of the more satirical stuff, is interesting.

By the time he got to Bananas, Woody Allen was reaching new heights in absurdist comedy. The idea of covering a South American revolution as a sporting event certainly was original one. Even getting to the point of getting the voice of American sports Howard Cossell to join the fun.

Allen is refining his schlepp persona in Bananas. Although he divorced his leading lady Louise Lasser in real life the two worked well together here. Allen tries to get a relationship going, but Lasser is interested in social causes. She has a bleeding heart for the people of the South American country of San Marcos and gives Woody his walking papers.

So off Allen goes to San Marcos as the schlepp from Brooklyn mixes with all kinds of folks there from dictator Carlos Montalban right down to the Che Guevara revolutionaries.

So many absurd moments in Bananas to count. My favorite is ordering takeout for the revolutionary army from a South American version of a Jewish delicatessen.

Definitely a must for Woody Allen.

Woody Allen's second film as co-writer/director/star (not including "What's Up, Tiger Lily?") is a grab-bag of lunatic revue sketches, some of them hilarious. Spurned by his activist girlfriend, product-testing schnook in New York City quits his job and heads to a strife-ridden Latin American country to become a part of their revolution. Trenchant political satire must have looked outrageous in 1971, but time has made a few of these gags gruesomely topical and accurate (but no less funny). Targets include man-woman sexual matters (territory Allen was spot-on with right from the start), television commentary (sent up brilliantly), urban violence, Catholicism, psychiatry, assassinations, a Marx Brothers-styled courtroom, Miss America and...J. Edgar Hoover. The pacing seldom flags, but Allen's screenplay (penned with his "Take the Money and Run" partner, Mickey Rose) sags in the middle--perhaps he should have kept the action going in NYC a little longer. Terrific music score from Marvin Hamlisch, adept comedic work from the entire crazy cast (including deadpan Howard Cosell and Roger Grimsby as themselves). **1/2 from ****