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The Purple Rose of Cairo really does rate up there with Woody's best - from Annie Hall, Manhattan to the earlier, more slapstick efforts, such as Love and Death and Sleeper. Cairo happens to be one of the best 80's movies Woody actually made - Crimes and Misdeameanours and Braodway Danny Rose being other greats.

The reason why I think that Cairo is better than the other 80's efforts is that the idea is really inventive. The movie raises so many questions of reality and fantasy, but does so in a highly surreal fashion. The switching of scenes, from reality to fantasy (movie) made me realise where movies take us as a viewer. Cecelia finds solace in the world of movies and comes up against the decision of which is better - the perfect world of movie, or reality, where things are never certain.

Jeff Daniels is so enigmatic in this movie. Not only as Tom, the screen legend, but as Gil the actor. Two very different characters, both played brilliantly. Mia Farrow is great as usual, and shows how broad her talent is (Broadway Danny Rose and Radio Days - both very different characters. Danny Aiello is good as the lazy slob-of-a-husband, Monk.

Like Radio Days, Woody isn't actually on screen (he narrated Radio Days, mind) and in a way this eased me up. Woody is fantastic when he is on screen, but this film benefited from losing his neurotic nature, and instead concentrated on the era, the love of movies and the complex themes of a movie within a movie. I will admit, some neurosis is retained in the dialogue (talk of morality to prostitutes!) - and this added to the surreal nature of the movie.

This has to be one of my favourite films Woody has directed. Annie Hall probably being my fave, Manhattan, Crimes and Misdeamenours and Sleeper following. Cairo is so constantly fresh and inventive, I couldn't help being captivated during it's short running time. I recommend this to any fan - or any lover of movies themselves. A real treat.

The Purple Rose of Cairo (1985)

There's no way you can't like the ingenuity of the movie, and the fun it has. It's about the joy of life, and love of the movies, and the difficulty to tell the difference sometimes (at least when in the theater).

In some ways this is one of Woody Allen's lightest movies, and certainly lightweight compared to the more serious movies of this period (like the stunning gem, "Another Woman"). It's not zany like his earliest comedies ("Love and Death"). And it's not deeply observant and sometimes downright moving and brilliant like his best movies (like "Annie Hall" or "Crimes and Misdemeanors"). In that way it feels like what some novelists would call an "entertainment" to distinguish from their heavier masterpieces, and sometimes these are the most readable of all. Or the most watchable.

"The Purple Rose of Cairo" is inventive, warm, and touching. It's really high brow hilarious when the people on the screen react to the situation, not only because of the existential reality shift going on, but because they are all high brow types. Then there are the everyday scenes with Mia Farrow, the lead actress in the real world (usually), and support from Danny Aiello, really just a foil for the main romances (two) going on with Farrow (singular). It's not as complicated as it sounds, which might prove the elegance of Allen's writing.

A beautiful, delicate movie without undo weightiness. Joyous, yes, even in its melancholy end.

Woody Allen's Purple Rose of Cairo is a brilliant piece of film-making. He combines drama, comedy and even a little bit fiction (people jumping out of movie screens into the real world). Its a great story involving a woman with marital problems played superbly by Mia Farrow. Here Farrow gives one of her best performances, much better than she was in a film i recently viewed called Shadows and Fog. Jeff Daniels is also good in his role as the movie character who comes into the real world, as well as the actor who plays that role. This is by far one of the most complex yet well written Woody Allen flicks. All the performances are good as well as the direction and writing, almost everything is perfect. A must-see for any Woody fan.10/10 #60 on my list of all-time favorite films

The only Woody Allen that I hadn't seen. I was waiting for the opportunity to see it on a proper screen in a proper movie theater, with other people you know, like in the previous century. At the end I was convinced to see it in a friend's living room but in one of those super duper mega wide TV screens. What a delight! A movie about the love of something not quite real but that it becomes the more real thing in our lives. The transportation that Mia Farrow goes through while sitting in the movie theater brought tears to my eyes - my friend turned to me in disbelief "Are you weeping? He asked. Well yes, I was. I can't explain it. Have you seen the movie? Sometimes I felt I wanted to sit next to Mia Farrow in see the movie she's watching all the way through. Why not, Jeff Daniels, Mia Farrow, John Wood, Zoe Caldwell, Van Johnson, please! It's so much better in here than out here. You can bet I will see this again. Top notch.

Woody Allen's "The Purple Rose of Cairo" is a film that speaks to the heart of anyone who has been mad about the movies. In a now-legendary scene, intrepid explorer Tom Baxter (Jeff Daniels) steps off a movie screen and into the life of Cecilia (Mia Farrow), an unhappily married, unemployed, movie-lover. Together, Tom and Cecilia brave the complications of the real world, including the arrival of Gil Shepard, the actor who plays Tom.

Farrow is sweet as Cecilia and Daniels is wonderful in his dual role. Brimming with quotable dialogue, "The Purple Rose of Cairo" toys with reality while maintaining a feather-light touch. This is a valentine to the movies, and more so, to movie-lovers.

THE PURPLE ROSE OF CAIRO has got to be one of the most original and inventive of all the films Woody Allen has done--and all the more enjoyable because we're not subjected to the Allen character in the film itself. Instead, we get MIA FARROW (one of her very best performances) and JEFF DANIELS in what has to be the most original role of his career, as the man who walks off the movie screen and into Farrow's humdrum life.

Farrow is the Depression-era movie fan whose film idol walks right off the screen and interjects himself into her life--brightening it, at least for awhile, until the rather downbeat ending. DANNY AIELLO, as Mia's abusive husband and DIANNE WIEST have good supporting roles, but the story really depends on the wonderful chemistry between Farrow and Daniels--and they truly bring the bittersweet comedy and fantasy to credible life.

Furthermore, the script is not only very clever, but the film is technically brilliant in the way it has the film within a film characters on the screen interacting with the movie audience.

Summing up: Stylish mixture of comedy and fantasy, fully deserving the many nominations and awards it won that year.

Woody Allen movies are often original or so unoriginal that they become original (‘Manhattan Murder Mystery' comes to mind). ‘The Purple Rose of Cairo', a title that says nothing about the real content of the movie, belongs to the first category. It is about a woman Cecilia (Mia Farrow) who enjoys watching movies and on one day she visits the movie ‘The Purple Rose of Cairo' and Tom Baxter (Jeff Daniels) suddenly steps off the screen into the theater and into the life of Cecilia. The problem is that Tom Baxter is the character of ‘Purple Rose' and knows only things his character is supposed to know for that role. More problems occur when other Tom Baxters in other theaters want to step out of the movie as well. Of course there is also the actor who plays Tom Baxter who is named Gil Shepherd. Both Tom and Gil fall in love with Cecilia.

Like I said the movie is pretty original. The way Allen plays with the possibilities of this fiction is done in a terrific way. There is a part where Tom ends up in a whorehouse and he has no idea what the women are talking about because his character didn't need to know these kind of things. It is one of the funny parts of the movie and a perfect example of how Allen uses the situations for funny moments.

It is also the problem with the movie. Near the end we grow a little tired with the same kind of jokes over and over again. Every time we see how Tom Baxter is incapable of doing or understanding things, or the opposite, because his character has no idea of real life. Allen is a great filmmaker and therefore the movie does not get boring. When we are not entertained with the jokes anymore at least we can be entertained with originality of the story. The closing scenes are pretty standard and predictable but the ride up to that point was so interesting I was willing to forgive him that. There was probably no other way to end this entertaining and original piece of cinema.

Woody's stories are often derivative, but he's forgiven that, usually, because the results are good and ultimately do deserve his signature. For PURPLE ROSE, he swipes Buster Keaton's gimmick in SHERLOCK, JR., then lets his imagination run free as he did in the best of his NEW YORKER stories. We wind up with the most fascinating and realistic meditation regarding what it is to be an audience, a viewer's relationship to art, art's relationship to reality. The triumph is amazing, because, despite the depth of the symbolism, PURPLE ROSE can also be seen as sheer entertainment; on its surface, it is still one of the most entertaining pictures Woody has ever made.

Farrow and Aiello are marvelous here; Mia, who is quite underrated, has only been as good once -- in BROADWAY DANNY ROSE. The photography is superb, influenced perhaps by Edward Hopper with generally less obvious light sources.

Splendid, splendid work.

Mia Farrow gives one of her best performances as Cecilia, a Depression-era waitress with her head in the clouds who gets dumped on over and over; after a miraculous situation comes her way and promises a better life, she has to choose between reality and fantasy...although some outcomes are predestined. Luminous Farrow is at her most vulnerable, and writer-director Woody Allen allows her to be funny too, yet the film is a preconceived, bittersweet whimsy about dashed dreams; it's ready-made to collapse. In the interim, we get bland Jeff Daniels in two roles (occasionally working the same scene!), a whorehouse full of romantics, a group of acidly funny movie actors on a theater screen, and Danny Aiello as Mia's abusive husband. The theme of "Cairo" concerns the blurred line between movies and reality--it's a valentine to the magic of the movies--but the central idea plays itself out too quickly, and Allen's sub-plots don't always work (you can sense that he's biding his time). Wonderful production design and music score, some marvelous sequences. *** from ****

THE PURPLE ROSE OF CAIRO is a lovely, funny, and heartbreaking entry from Woody Allen that still remains one of my favorites. This romantic fantasy tickles your funny bone and tugs at your heartstrings at the same time and I go through a myriad of emotions whenever I watch it. Mia Farrow stars as Celia, a depression era housewife, trapped in a dead end marriage to a pig (Danny Aiello) whose only escape comes from going to the movies. She goes to see the movie of the title several times and then at one show, the main character in the movie (played by Jeff Daniels)speaks to Celia directly from the screen saying, "You must really love this movie, don't you?" The character then walks off the screen and into Celia's life, claiming that he loves her and wants to be with her forever. Meanwhile, the actors in the movie on the screen are stuck and don't know what to do because they can't finish the movie without Daniels' character and they are seen conversing with each other about what to do and to the audience in the theater, who for some reason, sit and watch the actors on the screen trying to figure out what to do. Further complications arrive when the character starts walking off the screen in other theaters around the country and the actor who played the character (also Daniels) arrives in town to try to convince his character to go back in the movie. Woody doesn't delve into the territory of fantasy too much, but this one totally works with one of his most intelligent screenplays and winning performances from Farrow and Daniels and the ending is a heartbreaker. A must-see.

Mia Farrow stars in Woody Allen's "The Purple Rose of Cairo," a 1985 film also starring Jeff Daniels, Danny Aiello, John Wood, Zoe Caldwell, Van Johnson, and Milo O'Shea.

Farrow is Cecilia, a waitress in New Jersey during the Depression who escapes from the reality of a dull job and an abusive, cheating husband (Aiello) by going to the movies. When a character, Tom Baxter, in the film, "The Purple Rose of Cairo" that she's seen many times recognizes her as a frequent patron, he steps off of the screen. He's sick of being in the movie and wants to be in the real world, and he declares his great love for Cecilia. When word reaches Hollywood that a character has walked off the screen, the actor who plays him, Gil Shepherd, comes to New Jersey to try to convince him to continue with the film. He, too, meets and falls for Cecilia. She has to decide which one she wants, the fantasy or the reality.

This is a funny, romantic, bittersweet film about a lonely and unhappy woman. The film "The Purple Rose of Cairo" has some great New York stage actors in it, including John Wood and Zoe Caldwell, as well as Van Johnson and Deborah Rush. It's delightful. Farrow does a wonderful job as a vulnerable and frail Cecilia, who wants adventure and yet fears it at the same time.

Some beautiful scenes in this very lyrical Woody Allen film.

A movie I like to recommend to people who really dislike Woody Allen (because of his on-screen characters or off-screen life). And I usually get positive feedback.....he does not appear in this movie, and that makes sense because there really are no characters he could play in The Purple Rose of Cairo. It is a hugely entertaining movie--one of his best. Sharp, hilarious, and poignant. And anyone who can keep a dry eye for that ending must be a machine. This is the movie where Jeff Daniels really gets to strut his best comic stuff. He's always been underrated in my opinion. He's terrific at playing the "Everyman," but in Allen's movie he has a duel role--the clueless movie hunk who leaps off the screen to be with Mia Farrow, and the frustrated actor who plays him. Farrow is also good, back to playing mousey after her bold turn in Broadway Danny Rose. I really can't say enough about this. I would rank it as his best film of the '80s. I never get tired of watching it. I don't like using this adjective, but it seems to fit the movie....it is magical.

Allen's fascination with old black and white films is well shown in this film. It is set during 30's Great Depression, in which a downtrodden waiter : Mia Farrow, falls in love for a cinema actor, an explorer-poet, who goes out of the big screen. As while she is watching a film, the lastest attraction, The Purple Rose if Cairo, at her local cinema, a fictional hero : Jeff Daniels, suddenly shows up between the spectators.

Marvelous comedy in Allen-style with his usual elements as technical wizandry, romantic scenes, bizarre relationships and fantasy. Wonderful film with an large inventive, ingenious premise and very well developed, including a lot of surprises and a feeling love story. Allen explores the bewilderment of the actor whose movie persona has miraculously gone walkies. Mia Farrow provides an agreeable performance as an unfortunate and hard-working housewife who is really mistreated by his husband Danny Aiello. Jeff Daniels gives a sympathetic acting as a screen hero who becomes involved into reality and living a small romance, as he steps out of the movie screen and goes into actual existence sweeping here off her feet. That's why the main and support cast are pretty good. As the star-struck couple , work wonders with enjoyable emotions. Support cast is pretty good such as Danny Aiello, Edward Herrmann , Dianne West, Van Johnson, John Wood, Milo O'Shea, among others.

It contains lively and atmospheric musical score by Dick Hayman. Adequate and appropriate prodiction design by Stuart Wurtzel, with perfect settings on the period detail. Colorful and evocative cinematography in technicolor by Gordon Willis. The motion picture was competently directed by Woody Allen, showing his own wistful sense of intelligent comedy. Being made during a prolific and clever period in which he directed several masterpieces. Including a series of movies in which he provides 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 this Purple rose of Cairo. Rating 7/10. Better than average. The movie will appeal to Woody Allen enthusiasts.

I loved the homage to the period and to the Buster Keaton film 'Sherlock Holmes, Jr,' and the idea of disappearing from the disappointments of the real world into the world of the movies. Instead of the filmgoer (Mia Farrow) entering the screen like Keaton, it starts with the actor (Jeff Daniels) noticing her and coming down into the real world. I should say, it's the character the actor plays who comes down into the real world, because the actor himself is separate and, because the playing of the film has ground to a halt, he arrives on the scene as well, which results in an odd love triangle (and not counting her annoying and abusive lout of a husband).

There are some cute and endearing bits, like Farrow playing the ukulele while Daniels sings 'Alabamy bound,' but the creativity and humor seem to fall a little short here, as if Woody Allen had a great concept but then lost his way a little bit in developing it. The rest of the characters from the movie looking out into the audience, Daniels (the character) interacting with Daniels (the actor), the film producers reacting because the movie is no longer playing, etc ... all of this was of some interest, but not as magical as it could have been. It was reasonably entertaining though, and I loved the clip of Fred and Ginger from 'Top Hat,' performing 'Cheek to Cheek.' The magic and lightness of that against Farrow's wan, Depression-era look was truly compelling.

Favorite quote is when the naïve and virtuous fictional character (Daniels) enters a bordello and has this conversation with the prostitutes: Tom Baxter: I was thinking about something. Hooker: I can imagine. Hooker2: Two of us at the same time? Tom Baxter: I was thinking about some very deep things. About God and his relation with Irving Saks and R.H. Levine. And I was thinking about life in general. The origin of everything we see about us. The finality of death and how almost magical it seems in the real world, as opposed to the world of celluloid and flickering shadows. Hooker3: (to another) Where did you find this clown? Tom Baxter: For example, the miracle of birth. Now, I suppose some of you lovely ladies are married? Hooker: Not anymore. Tom Baxter: No? Then the absolutely astonishing miracle of childbirth, with all of its attendant feelings of humanity and pathos. I stand in awe of existence. Hooker2: Do you want to tie me up?

Cecilia (Mia Farrow) is a mousy waitress during the Depression. Her husband Monk (Danny Aiello) is unemployed, heavily in gambling debts, brutally abusive and a womanizer. She goes to the movies to escape from the world. Tom Baxter (Jeff Daniels) is a dashing archaeologist character from the film "The Purple Rose of Cairo." Cecilia is fired from her job. She goes to the cinema and Tom Baxter walks out of the screen. Hollywood is besides itself with news that Tom has escaped. Gil Shepherd (Jeff Daniels) who played the role is brought in to fix the situation.

This is a great concept from Woody Allen. I do wish that Jeff Daniels could differentiate his two characters better. Tom Baxter should be more swashbuckling and heroic. He should be a fantasy character. The husband is also a bit too much. He should be dialed back a little and maybe he shouldn't be violent. Mia Farrow is great at being mousy. It's generally an inventive and engaging movie.

This was a unique storyline - a character comes right out of the movie screen to join the "real" world - at the time. I've seen several others copy this sort of thing, although it also was done in some silent comedies, too, if memory serves. Nonetheless, it was done well here and I got a kick out of watching it back in the '80s. It's part fantasy, romance, drama, comedy. Woody Allen, who made this movie, is not on screen.

I have found (with one or two exceptions) that I like the best when he only narrated, such as in "Radio Days" and "Sweet And Lowdown." I like it when he leaves the acting to others.

Mia Farrow as "Cecilia" Jeff Daniels does a terrific job in a dual role, playing Tom Baxter and Gil Shepherd. One an actor, the other a "real-life" guy. Mia Farrow is appealing, as she usually was, as "Cecilia." Danny Aiello is another usually-interesting actor who gets your attention no matter who he is playing.

An inventive film that still holds up today.

In 1930s New Jersey, a movie character (Jeff Daniels) walks off the screen and into the real world.

This movie is brilliant. Obviously, the whole concept is clever and well-executed, but Allen also managed to make the "old" movie footage look old, and Jeff Daniels is really, really good. For an actor who may be better known for "Dumb and Dumber", it is great to see him in such a role.

This is or was Woody Allen's favorite film of his own (though this may have been replaced by "Match Point" twenty years later), and one can see why. The charm, the cleverness, everything about it is very neatly done, very succinct. Although shorter than the average film, it says what it has to say without dawdling.

Roger Ebert wrote, "The Purple Rose of Cairo is audacious and witty and has a lot of good laughs in it, but the best thing about the movie is the way Woody Allen uses it to toy with the very essence of reality and fantasy." So true, sir.

Before I rented the video, I read the external reviews and user comments on IMDB. The essence of most of them was that the film was very well done and funny. I felt like I was watching a different movie. I found it boring, not at all funny, and a total waste of time. If the acting is good and the plot is clever, it doesn't carry the day if there are few laughs, if it is slow, the characters one dimensional. I kept waiting for the plot to thicken and for the laughs to start. It never happened.