Harry dans tous ses états

Woody bares his soul--again--and if the introspective vision of the sad clown (growing old) isn't what you're expecting, the film is likely to be a disappointment. The film is funny, of course, and vulgar (as most Allen movies are), but it's also bitter and cynical, and rather sad.

The jerky jump-cuts might be a stylized editing cover-up for jumping from take to take to utilise the best performances of a pantheon of actors, or they might be planned...I don't know. I had to see a few of them before I settled into accepting them as "the style", but I decided they work in this film.

Other "user comments" complain about Woody and the sexy young women. That bothers me in some films, but not here. Here it's part of Harry's character--part of Woody's "character"--and is clearly part of his problem.

I think this is an honest film, a sad and revealing film about one of the most clever and creative writers in America. It's funny, it's witty, and it's also depressing. It has moments of pure, laugh-out-loud humour (eg. the elevator going down to the bottom floor of hell; Harry arriving at the honouring ceremony with a dead body, a prostitute, and his "kidnapped" son in the car), but underneath it's the story of a man who cannot function happily in real life, only in the fictions he creates. Although fantasy plays a major role in the story, the story is not a fantasy. The parallels between Allen himself and the character and plot he's created here are obvious.

I enjoyed watching this video, and would recommend it-- selectively--to friends. If you like the Allen sense of humour, want to see a fairly unusual editing style used effectively, want to see some superb acting cameos by some very talented actors, or have an interest in the torments of a neurotic middle-aged genius and how they might be revealed on film, then you'll like this movie. If this doesn't sound like your kind of thing, watch something else.

It isn't as lovable as "Annie Hall" or "Hannah and Her Sisters," and it's not as overtly philosophical as "Crimes and Misdemeanors." And that's probably why "Deconstructing Harry" is underrated by film/Allen fans. Still, it ranks among the Top 5 Allen films. Woody plays a Philip Roth-like fiction writer who is lecherous, unlikable, and disloyal; in dropping his "cute loser" shtick, the performance rings with more honesty than he's had in years. In a nod to Bergman's "Wild Strawberries," Allen's character has a chance to reflect on his life as he travels to a university for an honor. Memories mix with scenes this writer's fiction, providing opportunities for the large and excellent ensemble cast. Many of Allen's later films seem tired, but the neurotic jumpiness he brings to "Deconstructing Harry" reinjects energy into his work. If you loved "Husbands and Wives," try this. I rate it 9.

Very funny, very coarse, very Woody Allen. This movie not only has autobiographical elements, Harry Block to a large extent is Woody Allen himself. I think never a director exposed the weaknesses of his own "ego" as mercilessly as Woody did in this film, descending into the deepest layers of the "id", into the very depths of hell (literally, with all the molten lava and sulfur smoke that go with it)! But Woody Allen covers this merciless exercise of psychoanalysis with a thick cover of humor. It is also a very funny movie!

It's a shame that so much negative criticism focuses on Deconstructing Harry's bad language, because this is one of Allen's funniest, smartest and most perceptive films. In fact, it may actually be his best film full stop – only Manhattan and Crimes and Misdemeanours can challenge Harry. But although the bad language and crudity may affect some people's enjoyment of the film, for me, as someone who loves bad taste, it's a major benefit, especially as it's a side of Allen we rarely see. I mean, we're used to the romantic Allen and the neurotic Allen, and we've even had serious Allen, but here you have Allen almost becoming Philip Roth. It's very enjoyable to watch.

In this film, Allen's alter ego is Harry Block, a writer in the mould of Philip Roth who, in the words of one his exes, turns everyone else's suffering into literary gold. And this assertion is corroborated by the opening scene, a section from one his books where a man and a woman who are having an affair, during a barbecue, decide to have sex in a bathroom while their spouses are eating in the garden. It's a very funny scene, especially as an attempted blow-job is interrupted by a false alarm (the woman grinds her teeth when the man spots his wife) and as some doggy-style sex is interrupted by the woman's blind grandmother coming into the room (when asked what's happening, the woman tells her grandmother that she's making Martinis while they continue banging away). But while the scene is absolutely hilarious, it does also have a point. This is a scene from Harry's life. He's using it in his work. Therefore his ex isn't too happy to find this episode in his book. Of course, Harry tries to explain that it was 'loosely based' (the grandmother was an embellishment), but that doesn't cut much ice with his ex, who's having all of the sordid details of her affair revealed to friends and family. So the film touches on ideas of a writer's responsibility. What's exploitation and what's inspiration?

One of the most revealing sections of the film is when Harry talks to his therapist. He discusses his attitude to women. "I'm always thinking of f****** every woman I meet… I see a woman on a bus. I think what she looks like naked. Is it possible I might f*** her?" Essentially Harry is a man who has never grown up. He can't commit and he can't sustain a relationship with a woman, a fact backed up by his string of exes and his affection for prostitutes. Indeed, for him, whores are perfect. You don't have to woo them, they don't nag you and they do whatever you want; all you've got to do is pay them. And in the film, Harry takes Cookie, a black prostitute ("Do you know what a black hole is?" Harry asks her. "Yeah, that's how I make my living.") with him to an honouring ceremony at his old school.

Harry also takes a friend along with him and his young son – well, he actually 'kidnaps' his son. And the whole journey, the whole act of going back to remember the past, brings back memories of stories he wrote, stories that are thinly veiled versions of actual events. One of the funniest is a story of a man who married his therapist. At first everything is great, the woman understands the man like no other woman in the world. But once they have a child she becomes "Jewish with a vengeance". No longer is she smart and funny and sexy; all of a sudden she's a dowdy nag who's rediscovered her religion. And in one hilarious moment she even prays before administering a blow-job. Again it's highly amusing, but again it has a point; Harry wants everything to remain perfect. He can't understand why people have to change. I mean, even having a child doesn't change him. He talks to his son about naming his penis. He may be getting on, but he's still really just a kid.

Harry's whole life philosophy is neatly summed up by his half-sister: "You have no values. With you it's all nihilism, cynicism, sarcasm and orgasm." To which Harry quips, "Hey, in France I could run for office with that slogan, and win!" But although Harry may be deemed to be juvenile, he's entirely correct about religion. He tells his devout sister that they're clubs and that their function is to exclude people. And then he asks her whether it bothers her more when a Jew gets killed or a gentile. She says a Jew death bothers her more – "They're my people." "They're all our people," he replies. I'm with Harry. Religions are nothing but divisive. Plus they encourage people to prove how devout they are – as if you can be more Jewish than someone else, or more Catholic etc. It all becomes a competition.

But amongst all this, the only thing that Harry can do to remain sane is to write. Somehow life doesn't make any sense but fiction does. I guess it's a problem most writers have. To able to write you have to observe, but the more you observe the less you understand why people behave the way they do. Plus the more you observe the more you actually remove yourself from life. However, self-examination does allow Harry to become more perceptive as regards himself. In fact, his characters help him out a lot, as they offer insights that he couldn't possibly come up with alone. So although the film's coarse, it ends up being quite optimistic. Salvation lies within.

Harry Block is a writer who tends to thinly veil his won life in his art. His tendency to mock his friends and family through similar characters in his work has left him with three ex-wives and a huge number of people who hate him. He lives a lonely life and has a penchant for pills and whore (prostitution being pure and totally free of BS). When his college plans to honour him he finds he has no-one who wants to go with him, so he ‘kidnaps' his son, a black whore and an old friend with him. As the characters from his work come and go around him, he finds that he struggles to make amends with those around him and decides than he can only be happy in his work.

This is a fantastic Woody Allen film, and his only film to be rated 18 in the UK. The story seems to be a very clear, very personal attack on himself. It's like Allen is using a fictional story (going to be honoured by his college) to lay himself bare. Certainly Block's habit for using his own life in his work seems to echo accusations towards Allen in real life. At times this makes the film really hard to watch, some scenes are so full of apparent self-loathing and bile that it's hard to laugh. Happily the film is hilarious all the way through - this is not one of Allen's arty, serious films. It should be said that Allen denies that this is as personal as it appears but it is easy to see why it is seen as a personal attack on himself.

The film's main story is littered with scenes from Block's work that demonstrate how he has used his characters to mock others and to portray himself - Robin Williams is the best as the artist that literally lacks focus and Crystal is hellishly good. The story's moral about art and life is not as clear or as clever as it thinks it is, but it's very, very funny and the level of bile Allen appears to be spitting at himself is very interesting to observe.

Allen is great in the central role, but you do occasionally feel like you should look away at times because he appears to be giving himself a real kicking. The rest of the cast is really good and is full of famous faces ranging from big stars (Moore, Crystal, Alley, Williams) to familiar faces (Maguire, Bogosian, Louis-Dreyfus, Shue, Tucci). As a director Allen does some new tricks to make this feel even more different from his other films, but the jump cuts etc are a little tiresome. The most important character to me is Cookie. She is significant because Allen has not really ever created a good black character (even if she is a prostitute).

Overall this is a really funny film. The degree of vitriol that Allen appears to aim towards himself makes this a little less enjoyable but overall it is a great film.