Director: Woody Allen
“This sublime nostalgic comedy avoids the usual Allen formula of “goofy New Yorkers having trouble with relationships. Both Woody Allen and his famous neurotic monologue are absent this time […]” (716, Dana Duma, 1001 Movies You Must See Before You Die) This would explain why I actually liked The Purple Rose of Cairo! I was a little reluctant to watch this when I realised it was by Woody Allen as in my opinion he is one of the most overblown, egotistical writer/directors in Hollywood. So you can imagine my surprise when it turned out that I actually quite enjoyed The Purple Rose of Cairo. And I think it’s precisely due to the lack of Allen’s signature moves that this film was somewhat of a delight rather than a chore.
It’s a strange little film set in Depression era America so everything is a little bit muted and washed out, a little broken, and yet there is a charm to it all. Mia Farrow’s Cecilia starts out as this quiet, almost dejected young woman, continually put down by her louse of a husband and through her love of cinema blossoms into something entirely different. You can’t help but respond to Cecilia. And she really is the focus of the film – she’s the character that develops the most.
It’s quite a kooky thing which breaks a number of the norms of cinema such as breaking the fourth wall. And then there’s the combination of colour (the ‘real world’) and black and white film (the film Cecilia falls in love with) which adds some interesting dynamics to the aesthetics of the film. Jeff Daniels is wonderful in portraying two very different characters, both leading men (one imaginary and one the actor responsible for creating him) each with flaws that somewhat diminish through their interaction with Cecilia.
While it is a somewhat ludicrous storyline – a character walks off the screen in the middle of a film because he falls in love with a member of the audience – there is something magical about it. As a cinema lover myself you can tell that this film was created by someone who does indeed love cinema. There is a reverence to the film although Allen is not afraid to make fun of the cinematic universe with some brilliantly tongue in cheek performances but some splendid actors such as the enormously talented Edward Herrmann.
“Above all, The Purple Rose of Cairo is about love, perhaps Allen’s greatest love of all: for cinema.” (716) I would definitely suggest this to people – especially if, like me, you have found Woody Allen’s work pretentious and overwrought in the past – as this turned out to be a wonderful little film.