Le prête-nom

I don't profess to know anything more about 'the McCarthy era' than any other non-American that wasn't around in the fifties, but this film serves as both a great slice of entertainment; and something of a history lesson. The film is said to be a comedy, although it would seem to be played out more for the drama side as aside from Woody Allen's usual neurotic quips; there aren't actually any jokes in the film. That certainly doesn't harm it, however, as Martin Ritt's film has more than enough in reserve, as the story is interesting enough on it's own; and themes of 'the witch-hunt', as well as the idea of being guilty until proved innocent shine through. The story follows Howard Prince (Woody Allen) a cashier who, when asked by his friend who is on the 'blacklist', poses as a TV writer so the blacklisted writer can still work. The film takes place in the time when paranoia over communism was rife in America, and anyone that is suspected of associating with communists was no longer allowed to work. The scam goes on, but the more Prince is dragged into it, the harder it is for him to get out.

Like I say, I didn't know much about the era before going into the film; but I'm sure it's an important part of American history; if only for the fact that it's inspired a lot of great films, including the great original version of 'Invasion of the Body Snatchers'. I've been a big fan of Woody Allen ever since I first saw one of his films, and his performance here takes in all the best elements of his persona. The character; a talentless man garnering praise for someone else's work, suits Allen's personality like a glove, as the paranoid actor gets to show us how neurotic he can be. Support comes by way of the likes of Zero Mostel, Michael Murphy and Andrea Marcovicci; and all give nice supporting performances. Director Michael Ritt ensures that the themes of the story are always rife, as the film presents a great sense of foreboding, and scenes such as the one that see an innocent writer told that he can't be got off the hook because he hasn't done anything help to ensure this. On the whole, The Front is a great classic film, and sees Allen in one of his best roles.

It's the 1950's, and Senator Joseph McCarthy has whipped America and especially Hollywood into an anti-communitst frenzy. Anyone who ever had ties to the left wing is persecuted and denied employment. Which means a big opportunity for Woody Allen (acting only, he didn't write or direct) to make a few bucks selling scripts written by blacklisted writers, being the "Front" of the title. Little does he know what he's getting into. Woody's masquerade starts as a favor to a pal in trouble and a chance for easy money, but it quickly snowballs into serious involvement with some very ugly things.

Great script and excellent performances by Allen and Andrea Marcovicci, but the film is lifted to terrifying heights by the magnificent Zero Mostel as a blacklisted comic. Every indignity and loss he faces is reflected in his wonderful face with a terrible sweet-natured dignity, you can see the weariness and hopelessness growing in his eyes scene by scene. His tragedy changes the lives of all the other characters, and makes the film the fine thing that it is.

There's a lot of wit and black humor in this film, but overall it's a very affecting tragedy, one with a fine, strong, yet hopeful ending.

It's amazing to me that it has been more than a quarter of a century since this movie was made. I think at the time the movie was made it was said that it could not have been made before then because of the controversy; "Hollywood" would not have allowed it to be made.

This movie is of historical significance because it is based on reality; a reality that seems impossible now. I saw this movie in a theater in which another movie was shown first. The first movie was a documentary of the search for communists and the real-life story preceding the fictional portrayal of the same thing was a powerful combination.

I think this movie must be seen by all to see how unreasonable people can be if we are too intolerant.

The Front tells the story of an average Joe Loser whose friend, a blacklisted television writer asks for his identity so he can continue working. Thus begins not only an acceptable scam, but a personal odyssey for this man, played by Woody Allen. He begins to be become a `front' for other blacklisted writers as well, presenting their material as his own. His evolution is such that while he began to do this mainly for his own profit, he ends up taking a stand on behalf of the blacklisted artists he knows and along the way, finding his own relevance in life.

While starring Woody Allen, the film was directed by Martin Ritt, a blacklisted artist himself. Additionally, it featured a blacklisted writer and several blacklisted actors, including Zero Mostel. There are definite comedic moments in the film, but they are generally limited to a line or the facial expression of a character, therefore I consider this to be a largely dramatic film. (Albeit light drama). Making a comedy about HUAC (House Un-American Activities Committee) and the Hollywood Blacklist is like offering a comedy about the Salem Witch Trails. Both events involved the destruction of the lives of the victims due to the paranoia and hysteria of their contemporary societies and neither subject is comic fodder.

Of the films centering on HUAC that I have seen, The Front is by far the most representative and most meaningful I have seen to date. The Front is a very important chronicle of a dark period in 20th century history and deserves the many accolades it has received.

--Shelly

The screen time may belong to Woody Allen, but the movie belongs to Zero Mostel. Few actors are more improbable than the artfully bulky Mostel, whose round head, tiny snub nose and large expressive eyes resemble a cartoon more than an actual person. Yet his range is phenomenal. Watch the breadth as he slyly tries to work around head witch-hunter Francis Hennesee, or comically greets the diminutive Allen, or explodes in eye-popping rage at the Borscht-belt proprietor who cheats him. His metaphorical loss in the film mirrors the very real loss film-goers suffered during his years of blacklist. And it's to Allen's credit that he generously showcases this prodigious talent in what would be Mostel's last film.

The movie itself handles the blacklist of the 1950's with a congenial light touch. Allen is perfect as the nebbish who fronts for his screenwriter pals, and it's fun to watch him puff up and fluff out as the spotlight shifts abruptly his way. As expected, there are many amusing Allen bits scattered throughout. Even the romantic angle with Marcovicci works nicely into Allen's character as he evolves through the story-line, ending in a perceptive example of the old "worm turns" plot twist. All in all, this 1976, Martin Ritt film amounts to an amusing look at a dark period in American civil liberties, made unusually memorable by the sublime presence of the unforgettable Zero Mostel.