Broadway Danny Rose

Upon my initial viewing of "Broadway Danny Rose" ("BDR," as I will refer to it henceforth) when it opened in theaters back in 1984, I recall being somewhat disappointed at this seemingly frothy, light-weight film. Sometimes it takes additional viewings to truly appreciate the fine line between "light-weight" and "subtle." Coming off of the brilliant, sorely underappreciated "Zelig" -- and my first disappointing Allen film, "A Midsummer Night's Sex Comedy" -- I approached BDR with high-hopes. I left the theater feeling let-down at it's slapstick approach, esp. after Allen's "new" direction towards "serious" cinema. (I'm a devotee of his "Annie Hall"/post-"Annie Hall" films, as opposed to his "earlier, funny films.") How wrong was I in thinking I had seen something frivolous and trivial!

The absolute beauty of BDR not only comes from (once again) Gordon Willis' inspired chiaroscuro use of black & white photography and framing, Allen's hand-picked jazz score, succinct editing and crafty art direction, but mostly from its marvelous cast of actors -- most esp. Mia Farrow's astounding, beautifully wrought and precise performance. Upon subsequent viewings, her character's soul literally exudes through the epidermis! On top of that, the so-called "slapstick," which initially I viewed askance, turned-out to be far subtler than its initial impact. The right-on performances by BDR's numerous sub-characters also proved to be far more meaningful and poignant then initially viewed.

And, that ending.... What an ending! It has got to be one of the most heartbreaking and romantic finale's in screen history! (I say this with no hyperbole.) I have seen BDR more than two-dozen times, and it has never failed to bring me to tears (as did "Annie Hall," "Manhattan" and, his subsequent, "Hannah and Her Sisters"). The start of the scene (with Farrow's character confronting a heartbroken Allen) is pure beauty and poetry. The finale of Allen running after Farrow through the wet and rough-n-tumble streets of New York, and his (inaudible) "forgiveness" in front of the delicatessen, is nothing less than magical!

In sum, sometimes it takes a different "perspective" in looking at a piece of art to realize that there's much more there than meets the eye. Sort of like Diane Keaton's character in "Manhattan," as she pontificated with much zeal over the "textural" qualities of the "steel cube." Only this time, no pontification is needed: "Broadway Danny Rose" is pure, unadulterated romance through and through! This is a "must-see." Enjoy!

Although a very funny film, Broadway Danny Rose is more of character study and philosophical morality play. This film explores the life and values of Danny Rose (played by Allen)--a theatrical talent manager. Although he appears to be a hapless loser, Rose is smart enough to know how to get ahead in his business (do it to others before they do it to you) but is prevented from acting thusly by his morality and his compassion for his clients--which he treats like family. He pours all his energy into his clients' careers only to be abandoned by them when they finally hit it big. In the course of an "adventure" with the hard-bitten Farrow, his values imperceptibly rub off on her and begin working on her conscious. Her moral conversion is completed when she seeks Rose's forgiveness at the much talked about Thanksgiving dinner--a scene not about pathetic losers but rather a study of fellowship, compassion, redemption, and forgiveness.

Allen and Farrow both give career performances. Nick Apollo Forte is absolutely wonderful. The casting, locations, directing, and performances could not be better. Every aspiring film maker should study this film as the perfect example of a powerful "little" film. Watch the film several times and you'll like it more each time. It is may favorite Woody Allen film (everything else is a distant second) and one of my favorite films of all time. The film's lack of commercial and critical success speaks volumes about the sensibilities and values of our society.

"Broadway Danny Rose," other than featuring Woody Allen as a neurotic character attached to the entertainment industry in some fashion, has a much wider appeal than much of Allen's other work. Instead of targeting the upper-middle class with societal rants and characters more concerned with their personal and social lives than anything else, "Danny Rose" is for the working-class folk, a story that aims to humble the Hollywood or Broadway ego that believes that you have to be self-serving to be in show business.

The story of the film is told by a bunch of entertainers at the Carnegie Deli in Manhattan, reminiscing about Rose (Allen), an agent for the most obscure acts in New York back in the '50s and '60s. One of them claims to have the best Danny Rose story and his telling serves as narration to the film.

The story revolves around Rose and his biggest talent, Lou Canova (Nick Apollo Forte), an old-fashioned Italian crooner doing covers of Sinatra and all kinds of classic tunes from what back then was considered a "bygone era," but Lou is having a resurgence. Problem is he's an alcoholic and a womanizer. He insists on having the woman he's having an affair with attend his big performance at the Waldorf (that could get him a national gig). Other problem is, this Tina (Mia Farrow) was told Lou was cheating on her, so now she's run off to her Italian mob family and through strange circumstances, the mob wants to knock Danny off.

There are elements of classic comedy here, which is why the black and white works for "Danny Rose." At the same time, it's a nostalgic film (the early '80s was full of that for Allen) and an intimate one.

Without spoiling too much, the key to "Danny Rose" relies in the conflict between self- interest and dependency on others. In a way, it's Allen's way of saying thank you or perhaps apologizing to those that have been part of his personal journey.

No one does it alone, especially not Danny Rose, a character whose living is dependent on the talents and aspirations of others and who lives solely by the advice he remembers from deceased relatives. Then there's Lou, who can't perform unless Tina is there but loves his wife dearly, and then Tina, who can't make any major decision without consulting a psychic elderly woman.

"Danny Rose" has some memorable Woody Allen quotes and classically comical situations such as he and Farrow's Tina "wriggling" their way out of some ropes tying them together as a former escape artist client of Danny's used to say, or when they're chased into the Macy's Day Parade balloon warehouse.

The film is simplistic but truthful and it's nice to see Allen make a point that's so universal instead of one about affluent people solving their life crises.

If there's one thing that almost all of Woody Allen's comedies have in common, it's charm. Few have more of it than Broadway Danny Rose. Not Allen's best, not his funniest, but this warm and sentimental film grabs the viewer immediately and never lets up.

This is accomplished, initially, by the extremely naturalistic dialogue between the comics whose reminiscences form the bulk of the film. Notice how they all talk at once, they cut each other off, and they trample all over each other's lines. We really feel like we're listening in on a diner conversation, rather than watching a theatrical performance of a diner conversation. This gives the film an initial boost of accessibility.

This "charm factor" is cemented once we meet Danny Rose. Now, many people criticize Allen as an actor, claiming that he only ever plays one character... himself. This is absolute rubbish, and "Broadway Danny Rose" proves it. I have never seen Allen play a character so kind, warm, and accepting as Danny Rose. It was quite a pleasant surprise. Danny has to be that good, though, in order for us to accept that Tina is haunted by her betrayal of him.

That denouement, by the way, was really touching. The Thanksgiving scene took a good, funny, enjoyable movie and made it something a little more special. Compare this to the gross-out comedies of today... how many modern comedies can be as funny as "Broadway Danny Rose," and yet still create characters so real and so sympathetic that moments like the Thanksgiving scene can work?

I try not to harp on about how funny Allen's comedies are, because you either like his humor or you don't. If you like it, you don't need me to tell you it's funny, and if you don't, you won't believe me anyway. So why bother? I don't know, but I will say that this film had a good six or eight laugh out loud moments, at least, and it kept me smiling throughout.

Also, after a good debut in "A Midsummer Night's Sex Comedy" and a reduced, subdued role in "Zelig", this is the film where Mia Farrow really comes into her own as Allen's leading lady. For the first time, I don't miss Diana Keaton.

I have never been able to relate to many of Woody Allen's films, although I would say that nearly all of them are quite well concieved and executed. Broadway Danny Rose is something quite unique, I mean that the script is simply beyond belief. How someone could concieve of all those lines is truly remarkable. It is one of the most quoteable films I have ever seen. The lines which are memorable are tinged with this incredible satiric and ironic sense of humor. The scenes are at once super realistic and very funny. Woody Allens way of making fun of people is at its best here. The opening scene where Lou Canova is at the lounge singing "I Like The Look Of You...", wow, the cast of characters assembled, how could anyone have found these people. I guess alot of credit is due to the person who cast the film. If you look at the credits you see that most of the faces which appear were appearing in their only film. This is the basis of the movie's genius. Then there are lines like: "I'll open with Volare and You Make Me Feel So Young... or "I don't know whether to go with Boulevard of Broken Dreams or Three Coins in a Fountain as an encore... or "Lou's probably drinking out of a promotional sized whiskey bottle by now.. or "If anything happens to that car I'll be furious... or "He made juice for the mob?... or "Allow me to interject one point at this juncture... or "Weinstein's majestic bungalow colony is a classy joint, I need a classy act, how about Sonny Chase, he's fast, he's funny... or "Pee Wee has been eaten by a feline, that comes under the act of God clause... or "If you take my advice, you'll probably be one of the great balloon folding acts of all time. I really wish I could find this for sale. It's a film which can be watched repeatedly without risk of boredom or redundancy. A great film around Thanksgiving time. Joe Franklin, Howard Cosell, Milton Berle. New York City circa 1972. The Waldorf. The 70's garb. New Jersey Italians by the dozen. Angelina the fortune teller and her little dog and assistant. "And yet he cares for you... Don't go to him, take care of old buisness... Time out... "Lou, the directions were good, it was a Gulf station... "A cheap blonde, Lou... I could keep spouting fragments of the script for an hour and I don't mean to be didactic or facetious.