Zelig

Was this the first "mockumentary"? I checked out IMDb and it predates Guest, Reiner and co.'s This Is Spinal Tap by a year. Not only was it a fake documentary, it sustained the format throughout, never once breaking into an enacted scene. Allen told his story, set in his favorite time period, The Roaring 20's, using special lenses to create the old style newsreels. Using photo stills, mixing real footage with his, and providing exposition via modern-day "historians" and aged characters, he gave this innovative film such an authenticity that if one didn't know any better, you would swear there had been an actual Leonard Zelig.

Allen plays Leonard, a man so devoid of identity, so eager to assimilate, that he literally takes on the appearance or, at least, the attributes of anyone he comes in contact with. Mia Farrow plays his psychiatrist, Dr. Eudora Fletcher, and taken in smaller doses, she actually is perfect in this role. There are a few moments when you get to see an extended dialogue between the two, most notably when her brother is filming "The White Room" sessions at her country estate. This is the only time that Allen's shtick gets to flex, as he cracks jokes about teaching a Masturbation class. Advanced. I also loved Zelig groaning about Eudora's terrible cooking under hypnosis. Eventually, Dr. Fletcher is able to cure him, and with his newfound personality, he and Eudora fall in love.

Allen also introduces the idea of Zelig's story being filmed as a movie, so he inter cuts some of the news sources with scenes from the film (very funny). The one thing that really stood out for me, though, was this revelation towards the end of the film. Woody as Leonard Zelig was smiling. A lot. It was kind of weird to see, but his happiness actually imbued the film with positive emotion and charmed the pants off me (not literally, of course) to such a degree that I will undoubtedly be repeating my viewing pleasure many more times.

I'll be honest. There were moments early on that I perhaps wondered if he was going to be able to sustain my interest. I thought he might be playing this conceit a little too long. What had, in the first 20 minutes, been enchanting and amusing seemed to dwindle in the middle of the film. Would he really succeed at telling an engaging story in this method? Well, I stuck with it and I'm glad I did. He layers so many meanings into his character's transformations, and all of his historians offer different interpretations. The importance of being yourself. How Zelig's journey was America's journey during the tumultuous and wild 20's. He also has a great running gag about Moby Dick that lampoons the Great American Novel.

Will Allen ever be this innovative and original again? Well, it appears he's making an attempt with his newest film, Melinda and Melinda, in which he tells the same story twice, with one tone being humorous, while the other is tragic. If nothing else, he at least continues to strive for an authentic voice in this littered landscape of movie franchises and ridiculously insulting comedies. Go Woody.

Leapin' lizards! This film is brilliant, brilliant, brilliant.

"Zelig" was a revelation in 1983, an utterly ingenious faux-documentary, without any precedent, at least not on this scale. Hilarious then, it still is today. That quick glimpse you get of the all-Hasidic production of "A Midsummer Night's Dream" is priceless. It gives renewed meaning to "Lord, what fools these mortals be!"

Allen's technique is extraordinary. "Zelig" has the best bogus documentary footage quite probably since "Citizen Kane".

As the film urges, everyone should "Do the Chameleon", by seeing "Zelig". Woody Allen creates a trenchant comment on people's desire for conformity: "Everybody, go chameleon." We all tend to do that to some degree, but it's not usually so amusing. Try to blend in with the crowd rushing out to find "Zelig" on video.

It is probably worth noting that a Jewish Nazi is not as ridiculous a stretch as Woody makes it seem. Reinhard Heydrich, the vicious organizer of the Final Solution, fell into that category. The top Nazis were all misfits in one way or another.

This could well be a review of 90% of Woody Allen's oeuvre. The film is a smorgasbord of fabulousness - exquisite concepts, very clever lines and very funny ones. No film maker has ever had such a grasp of irony, sarcasm and the ridiculous, and still imbue it with wit and (occasionally) subtlety. But it is the relentless self-deprecation and extant feelings of worthlessness that eventually become wearing after you have watched as many Allen films as I have. This is the film that most impresses you with his confusion over identity however. I could go on about self-analysis for pages but it's unnecessary...just watch any given Woody Allen film. He mellows it out with a rather forlorn sense of romance that becomes endearing rather than pathetic...a skill that is essential to engage with his films. This is a fine film. Oh yeah...and very funny...if you get the references.

"Zelig" is a very clever movie, the kind you just know Woody Allen is capable of. In this "mockumentary," Woody plays Leonard Zelig, an insecure man who goes to the ultimate length to fit in. Mia Farrow offers the love interest as Dr. Eudora Fletcher. In "Zelig," we get to see Woody spliced into old footage, including the Nazi rally. This came before the effect became used more often, in movies like "Forrest Gump." I see this as a transition in Woody's movies. It comes somewhere between his early funnier movies, like "Bananas" and "Take the Money and Run," and his later, more introspective ones, like "Hannah and Her Sisters" and "Husbands and Wives." It makes a statement about individuality, and produces laughs in the process.

Woody can be clever. Woody can be funny. And when Woody's clever AND funny, you get "Zelig".

Telling the story of Leonard Zelig (Woody Allen, who else?) who transforms himself chameleon-like into anyone just to get people to like him, he finds himself the object of on-going observation from a kind doctor (Farrow), who eventually falls for him.

But lest you think this is simply a love story, there are also pot-shots at fame, fads, the 1930s (!!), medical conventions, product cash-ins and the joys and pitfalls of celebrity.

Then there's the sheer joy of the technical wizardry that allows Woody's Zelig to stand alongside such figures as Josephine Baker, Brickhouse, William Randolph Hearst, Marion Davies, "Red" Grange, Al Capone, F. Scott Fitzgerald, Lou Gehrig and Fanny Brice. This is the same type of FX visible in "Forrest Gump", and eleven years before the fact! Nice going.

But you haven't lived till you've seen Woody trying to blend in at an Adolph Hitler speech.

There's a lot of slapstick but there's also a lot of great lines ("I have to council a group of chronic masturbators", Zelig complains, "and if I'm late they'll start without me.") Classic.

But at the center of it all is Woody himself, just like his Zelig character, wanting only to be liked, if not loved. He succeeds. Once you see "Zelig", you'll love it.

Eight stars, plus one star more for watching Woody be serenaded by Fanny Brice. He's the cat's pajamas!