Broadway Danny Rose (1984)

Often overlooked, Broadway Danny Rose has developed a cult following among select Woody Allen fans; Chris Rock, of all people, says it's one of his favorite films. Allen plays a devoted talent agent for acts whose talent is, shall we say, marginal. But one of his clients, a faded singer named Lou Canova (Nick Apollo Forte), suddenly has a chance to perform for a record executive. Nervous, Canova insists that Rose bring his girlfriend to the show--unfortunately, his girlfriend is Tina Vitale (Mia Farrow), the wife of a big-time mobster. (Farrow's performance is superb and unlike anything else in her career: loud, brassy, and comically obnoxious.) Part caper, part-show biz satire, Broadway Danny Rose would make an excellent companion to Paper Moon; both are a delightful combination of nostalgia and cutting observations about human nature. --Bret Fetzer Amazon.com

See, there was this..

Okay. So there were a bunch of guys (talented or not) sitting around a Broadway deli talking about.... Well, who else. In this very funny send up of the seamy side of the nickel and dime theatrical business Woody Allen outdoes himself in his desire to placate his clientele. His over the top mannerisms and continual use of the by now obligatory use of the word `darling' by talent agents takes away a little from his performance but watch it nevertheless. And Mia Farrow as a Jersey style Mafioso doll is just fine. Can true love ever come of such a pairing except in a Woody Allen movie? Well, just ask that bunch of guys sitting around that deli. See. January 7, 2008

A Real Gem

"Broadway Danny Rose" is an often forgotten very nostalgic and very funny Woody Allen film. I have not seen it in years but there was something very special about it. I remember that it was great to see Sandy Baron in the film. Where was he all those years? This showbiz comedy is as dry and witty as they come and there is a lot of truth and honesty behind it all. Perhaps that's why it has always remained special to me. November 29, 2007

Very Funny

There are so many laughs in this film.Must be one of Woody Allen's best.
I could watch it again and again and it never loses it's humor.
Mia Farrow and Woody Allen are just perfect in their roles.
Brilliant and highly recommended. November 12, 2007

Woody Allen at his best.

This is one of the least seen, and one of the most underappreciated Woody Allen films. It is a laugh riot, especially Mia Farrow as the Mafia moll. It's fast-paced, funny, and thoroughly enjoyable. October 17, 2007

Woody Allen's Ulysses; Woody Allen's morality play; The Gospel According to Woody

Accept. Forgive. Love.

This movie within the context of the Allen opus reads like his Guernica: the last time his whole heart, soul and mind were into his work, before the excruciating life and divorce and custody battle with his complicated co-star here.

We must remember this film was still designed for the Big Screen. We may only imagine now upon our tiny screens the enormous power of his co-star's forty foot full frontal face at the effective finale of this film, within a crowded movie theatre united in one emotion. Devastating, exhilerating, a catharsis of a spiritual power rare in cinema. And I write this without resorting to a spoiler.

Acceptance. Forgiveness. Love.

This is Woody Allen's Leopold Bloom living decently and kindly within a vicious world. Unfortunately the philosophy of life proposed by Farrow's character of do unto others before they do unto you has become our society's common code, at least until this ultimately disasterous code brings its own fatal reward.

Accept. Forgive. Love.

See this film again. And again. It rewards, like James Joyce, another viewing. For instance, follow throughout the tantalizing motif of vision: the glasses which mask Mia's face, the glasses which sharpen Woody's, the loose eyelid of one criminal, the remarkable cameo of the one-eyed Davis, the eyes of the inflatable balloons, the blind xylophonist, the way Tina's husband met his end, etc. Surely there is a message here, as eyesight is repeatedly stressed, and one feels within this film such things are important and thought as in Joyce.

This film was filmed in the early eighties, reflecting earlier times, and so we see three piece suits. But what struck me especially is how thin we once were, and Woody continues to be. In fact in this film one of the meatier characters is played by Mia Farrow, which tells you how skeletal are so many of the others. And where is the traffic? We see Danny Rose's Volare speeding across the bridge to New Jersey, with not another sedan in sight! How can this be? And watch for the brief cameo of the Twin Towers. The product placements are shameless, perhaps as parody (Coke, several beer brands, etc.)

See this film again. Think of the narrative quirks, and find their reason. For instance, Barney Dunn in front of a beautiful young woman in downtown Manhattan brags about an impossible cruise and weeks in Puerto Rico, after establishing his is a hopeless act. And yet Rose takes him disasterously at his word. We cannot get it until we realize Dunn was making it all up to impress the young lady.

Unlike today, things hold together in this film, DO yourself a favor and see it again. The French subtitles and especially the French soundtrack are really very well done. I only noticed on error of conjugation in the Spanish subtitles near the end at the closing credits. I so wish more films included a Spanish over dubbed soundtrack as well, so I could share them with my Spanish speaking friends. But the French is really well done, and you feel like you are watching a French art film, especially in black and white as it is.

Acceptez. Pardonnez. Aimez.

You should here Farrow's character recite it, in Frnech. Exquisite. And in Black and white. May this film never be unfortunately coloraized as was the great black and white epic: The Gospel According to St. Matthew, not after all of the trouble and expense Woody went through to film in black and white after that format died and before digital cameras made it all the push of one button. That goes along with the retro theme, and it must never be colorized! Woody went to a surprising amount of trouble and expense to be able to film in black and white in the eighties when the technology was no longer available, and this enhances and places the work immeasurably, ineffably.

Accept. Forgive. Love.

How many films bear this message anymore? I believe for this reason this film is on the Vatican's list of all time 100 great movies. See it and see why. September 19, 2007

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