Hannah and Her Sisters Provides a Glimpse of Woody Allen's Future Direction

One of those Woody Allen movies that somehow escaped my notice until this weekend is 1986's Hannah and Her Sisters. And while I have to say that it doesn't quite make my list of the top 21 Woody Allen movies, it takes a valuable look at a strange post-disco-swinger, hungover-from-AIDS era and highlights typically great acting from Woody himself, Michael Caine, Mia Farrow, and many others.

Farrow is Hannah, who has sons with an impotent Allen, but they've divorced, and Farrow has remarried Caine. They love each other, but Caine has an affair with Hannah's sister. Allen later gets married to Hannah's other sister. That's really all you need to know about the story. The rest is completed nicely by the usual talkiness injected into Woody's movies.

This is a period when he seemed to be moving from more humor to more drama. The excessive drama of this one is admittedly a little off-putting, and I think the best parts remain Allen's scenes, where his neurotic humor is front and center.

Interestingly, Hannah and Her Sisters was Woody's biggest box-office success until last year's Midnight in Paris. It was nominated for best picture, and Caine and Diane Wiest took home the rare double-Academy Awards for best supporting actor and actress. At the time of its release, Roger Ebert called it Allen's best movie.

***1/2 out of ***** stars

Midnight in Paris a Literary and Artistic Delight

Midnight in Paris would land somewhere in the middle of my list of the best Woody Allen films. The famed director is clearly still at the top of his game, with the only difference from his work of the 1970s being that other people besides him play the "Woody Allen role."

This time it's Owen Wilson as the neurotic protagonist. He does a great job navigating an era (1920s Flapper expat Paris) that has been fascinating to me ever since my two favorite novels became F. Scott Fitzgerald's The Great Gatsby and Ernest Hemingway's The Sun Also Rises.

And the performances of the actors who play the legends of that time are wonderful. When Owen Wilson, playing an L.A. screenwriter on an extended vacation to the City of Lights with his non-supportive fiancee and her lousy rich parents, slips into a time warp each night, he comes alive befriending the likes of a respectively sensitive and crazy F. Scott and Zelda Fitzgerald, a surreal Salvador Dali, an unthoughtful Pablo Picasso, an artistic guru Gertrude Stein, and a rowdy Hemingway (with this movie released in a timely way, close to the 50th anniversary of Hemingway's Idaho suicide).

Allen's brilliance balances on his humor (Side Effects and Without Feathers are still two of the greatest comedy essay collections ever known to mankind) and his insight into how the times we live in never seem as interesting as other historical periods. We're disillusioned, and that's a big part of what makes Midnight in Paris so timeless.

Not to mention, the opening sequence is almost as good as a round-trip ticket to Paris. All the sights are included.

**** out of ***** stars