¿Cuadriabuela en Córdoba, Argentina?SÍ, cuadriabuela, ¿qué pasa?
El inusual hecho ocurrió durante el mediodía en el Hospital Regional Pasteur de Villa María - Córdoba. Además de su madre, de 19 años, se encontraban su abuela, de 38, la bisabuela, de 54, y la tatarabuela, de 71. La única que faltó fue Laura Villega, de 90 años, la madre de su tatarabuela, o "cuadriabuela", como llaman a esa categoría especialistas en genealogía, ya que se trata de un término no contemplado por
Monty Python, or The Pythons, is the collective name of the creators of Monty Python’s Flying Circus, a British television comedy sketch show that first aired on the BBC on 5 October 1969. A total of 45 episodes were made over four series. However, the Python phenomenon developed from the original television series into something much greater, in scope and impact: it spawned touring stage shows, four films, numerous albums, several books and a spin-off stage musical—as well as launching the members on to individual stardom.
The television series, broadcast by the BBC from 1969 to 1974, was conceived, written and performed by Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, and Michael Palin. Loosely structured as a sketch show but with a highly innovative stream-of-consciousness approach (aided by Terry Gilliam's animations), it pushed the boundaries of what was then considered acceptable, both in terms of style and in content.
The group's influence on comedy has often been compared to The Beatles' influence on music,[1][2] a self-contained comedy team responsible for both writing and performing their work and changing the way performers entertained audiences. The Pythons' creative control allowed them to experiment with form and content, discarding the established rules of television comedy and breaking new ground for those who came after (George Harrison, who became friends with several members of the cast, said that he regarded Monty Python as 'continuing the spirit' of The Beatles).[citation needed] Their influence on British comedy of all kinds has been apparent for many years, while in America it has coloured the work of many cult performers from the early editions of Saturday Night Live through to more recent absurdist trends in television comedy.
There are differing accounts of the origins of the Python name although the members agree that its only 'significance' was that they thought it sounded funny. In the 1998 documentary Live At Aspen the group implied that 'Monty' was selected as a gently-mocking tribute to Field Marshal Lord Montgomery, a legendary British general of World War II; requiring a "slippery-sounding" surname, they settled on 'Python'. On other occasions Idle has claimed that the name 'Monty' was that of a popular and rotund fellow who drank in his local pub; people would often walk in and ask the barman, "Has Monty been in yet?", forcing the name to become stuck in his mind. These explanations aside, some believe that 'Monty Bodkin', the name of a character in several books by humourist P. G. Wodehouse, served on some level as an inspiration.[citation needed]
In a 2005 poll to find The Comedian's Comedian, three of the six members were voted among the top 50 greatest comedians ever, by fellow comedians and comedy insiders. Palin was at number 30, Idle was voted 21st and Cleese was at two, just beaten to the top by Peter Cook.
Curso - Espanhol e Inglês para Projetos Especiais
Projeto América Latina Palavra Viva: cursos individuais de Espanhol e Inglês em seu local de trabalho ou domicílio. Esta metodologia de atenção satisfaz a necessidade concreta daquelas pessoas que por razões intelectuais, comerciais, científicas, ou de outra natureza específica, têm necessidade de adquirir um conhecimento dinâmico, não só da língua, quanto dos países e das culturas que deverão visitar ou das sociedades onde residirão. É um método ameno que garante o conhecimento amplo do espanhol e do inglês para luso-falantes,. O custo do curso se determina de acordo com a carga horária, não havendo despesas de materiais.
Valor: R$ 25,00 por hora/aula.
(1924 - 1996)
Marcello Mastroianni nasce a Fontana Liri, in provincia di Frosinone, il 28 settembre 1924.
Attore italiano per eccellenza, di sicuro il più noto del cinema internazionale nei tre decenni seguiti alla guerra, giunge alla fama quietamente, a differenza di altri della sua generazione. Comparsa cinematografica tra il ‘38 e il ‘43, iscrittosi al Centro Universitario Teatrale al termine delle ostilità belliche, ottiene una prima affermazione in teatro, nel ruolo di protagonista di "Un tram che si chiama desiderio" (1948, regia di Luchino Visconti). Al cinema, azzecca la parte del giovanotto simpatico ed estroverso ne "Le ragazze di Piazza di Spagna" (1951) di Luciano Emmer: dipoi, vieppiù trova la giusta misura accanto a Sophia Loren in "Peccato che sia una canaglia" (1954), commedia garbata ed elegante diretta da Alessandro Blasetti. Ne "I soliti ignoti" (1958) di Mario Monicelli conferma la propria bravura nel registro comico-farsesco, ma la svolta della sua carriera arriva con "La dolce vita" (1960), epocale pellicola di costume che segna pure l'inizio d'un lungo e fortunato sodalizio artistico con Federico Fellini.
Sorta di alter ego del regista riminese e maschera che esprime alla perfezione "le velleità d'una società in fase di trasformazione", il Nostro sarà ugualmente convincente nel mirabile "Otto e mezzo" (1962), forse l'esito più alto raggiunto da Fellini. Frattanto, poliedrico come pochi, Mastroianni torna al grottesco per "Divorzio all'italiana" (1961) di Pietro Germi, ove inventa i tratti di quel barone Cefalù che lo renderà celeberrimo in tutto il mondo. Nuovi stimoli gli offriranno, nel tempo, cineasti del calibro di Marco Ferreri ("Break-up", 1965; "La cagna", 1972; "La grande abbuffata", 1973; "Non toccare la donna bianca", 1974; "Storia di Piera", 1983), Ettore Scola ("Una giornata particolare", 1977; "La terrazza", 1980; "Il mondo nuovo", 1982) i fratelli Taviani ("Allonsanfan", 1974), Marco Bellocchio ("Enrico IV", 1984), ancora Monicelli ("Le due vite di Mattia Pascal", 1985). Negli ultimi anni della sua attività, le occasioni migliori gli provengono dal cinema internazionale: da "Il volo" (1986) di Thodoros Anghelopoulos allo stupendo "Oci ciornie" (1987) di Nikita Michalkov, da "Pret-à-porter" (1994) di Robert Altman al presago "Viaggio all'inizio del mondo" (1996) di Manoel de Oliveira, si dipartono gli ultimi fuochi di un interprete geniale e malinconico, gioviale eppur ritroso. Infine, le immagini intense e commoventi di "Mi ricordo, sì, io mi ricordo" (1997) - sorta di confessione testamentaria filmata a mo' di epicedio dalla sua ultima compagna Anna Maria Tatò - costituiscono impagabile commiato da una figura somma, insieme familiare e straordinaria, della cinematografia nostrana.
Muore a Parigi il 19 dicembre 1996.
CineARTH apresenta:
Cinema, Loucura e outras viagens....
ENTRADA FRANCA!!!
Em Parceria com Grupo de Pesquisa: Gênero, Saúde Mental e
Subjetividade(UFSC), Escola Brasileira de Psicanálise(seção SC) e
31/03/07 – ESTAMIRA
14/04/07 – CAMILLE CLAUDEL
21/04/07 – SHINE
28/04/07 – BETY BLUE
Aos Sábados às 18:30* *na FAED-UDESC (r. Saldanha Marinho,196)
ou pelo Blog: www.cinearth.blogspot.com
* Recebemos de Lelê e partilhamos o convite
Se dice de mí:
(11 de octubre de 1904 - 24 de diciembre de 2002)
Se dice de mí
Milonga
1943
Música: Francisco Canaro
Letra: Ivo Pelay
Se dice de mí,
se dice de mí.
Se dice que soy fiera,
que camino a lo malevo,
que soy chueca y que me muevo
con un aire compadrón,
que parezco Leguizamo,
mi nariz es puntiaguda,
la figura no me ayuda
y mi boca es un buzón.
Si charlo con Luís, con Pedro o con Juan,
hablando de mí los hombres están.
Critican si ya, la línea perdí,
se fijan si voy, si vengo o si fui.
Se dicen muchas cosas,
mas, si el bulto no interesa,
porque pierden la cabeza
ocupándose de mí.
Yo se que muchos me desprecian compañía
y suspiran y se mueren cuando piensan en mi amor.
Y más de uno se derrite si suspiro
y se quedan si los miro resoplando como un ford.
Si fea soy,
pongámosle,
que de eso aun no me enteré,
en el amor, yo solo sé
que a más de un gil, dejé a pie.
Podrá decir, podrán hablar,
y murmurar, y rebuznar,
mas la fealdad que dios me dio,
mucha mujer me la envidió
y no dirán que me engrupí
porque modesta siempre fui.
Yo soy así
Y ocultan de mí,
ocultan que yo tengo,
unos ojos soñadores,
además otros primores
que producen sensación.
Si soy fiera sé que, en cambio,
tengo un cutis de muñeca,
los que dicen que soy chueca,
no me han visto en camisón.
Los hombres de mí critican la voz,
el modo de andar, la pinta, la tos.
Critican si ya la línea perdí,
se fijan si voy, si vengo, o si fui.
Se dicen muchas cosas,
mas si el bulto no interesa,
porque pierden la cabeza
ocupándose de mí.
Podrán decir, podrán hablar,
y murmurar, y rebuznar,
mas la fealdad que dios me dio,
mucha mujer me la envidió.
Y no dirán que me engrupí
porque modesta siempre fui.
Yo soy así.
Desde El Portal del Tango reconocimiento a una
Cinthia Espinosa
Laura Ana Merello, nació en San Telmo el 11 de Octubre de
En 1920, da los primeros pasos de su carrera, cuando pasa por la puerta del Teatro Avenida y ve un cartel que pide chicas, que se menearan frente al público, entra y es aceptada en la obra ¨Las Vírgenes de Teres¨ no le fue muy bien.
Pero su éxito comienza cuando interpreta el Tango¨ ¨Trago amargo¨.
Trabaja también en teatro y obras musicales.
Debutó como actriz remplazando a Olinda Bozán en el papel protagónico de ¨El rancho del hermano¨.
Se hace muy popular con el éxito del ¨Conventillo de la paloma¨.
En los años ´30 popularizó dos rancheras: ¨Los amores en la crisis¨ y ¨Donde hay un mango¨, ambas comentaban la situación económica. Filmo varias películas como, ¨Morir en su ley¨ (1947), ¨Arrabalera¨ (1950), ¨Pasó en mi barrio¨1951, ¨Gaucho¨ 1953, y ¨Para vestir santos¨ (1955), pero su gran éxito fue ¨Los isleros¨.
Cae el gobierno del General Perón, Tita ya no tiene el mismo trabajo, le son negadas muchas posibilidades, para poder mantenerse trabaja en parques de diversiones, circos, entonces decide Viajar a México, donde actúa en una obra de Eugene O´ Neill. En 1957, ¨La reina del tango¨, (como en 1931, la catalogará el diario ¨El Mundo¨), vuelve al país y al trabajo también sorprendiendo con su participación en la televisión.
En televisión hizo “Tangos en mi recuerdo”, alguna serie dramática y versiones teatrales. Como cancionista se presentó durante cinco años seguidos en “Sábados circulares” con el querido “Pipo” Mancera en el canal 13.
“De ella puede decirse que, aún desmedida (por lo caudalosa) es de una enorme eficacia. Pertenece a la familia de las actrices que además de tener algo que decir, siempre tiene algo que insinuar.
Es violenta en la nota dramática, que sabe quebrar con profunda naturalidad. Viaja por las transiciones con toda comodidad. Dícese que es culta. Por lo menos, inteligente lo es. Su cultura no la conocemos. Tita es un mujer siempre distante. Un tanto desgarbada. Curiosa. De ocurrencias. Cultiva la risa. Es siempre sincera. A ella, además , le encanta mostrar el San Telmo que fue su cuna”.
Según se publicó en alguna revista de hace años y describió en pocas líneas lo que nuestra “Reina del Tango” es para todos los amantes de este arte, “Tita es Pueblo, es ímpetu, es el estilo de mujer que las féminas admiran y los hombres temen: inteligente, sagaz, avasallante y sencilla.”
"Es la desmitificadora que se convirtió en un mito".
Fonte: www.elportaldeltango.com.ar
Nós, mulheres procedentes de mais de 40 países, de distintos povos autóctones, da África, América, Europa, Ásia e Oceânia e de diversos setores e movimentos sociais, estamos reunidas em Sélingué (Mali), no marco de Nyéléni 2007, para participar na construção de um novo direito: o direito à soberania alimentar. Reafirmamos nossa vontade de atuar para mudar o mundo capitalista e patriarcal que prioriza os interesses do mercado acima dos direitos das pessoas. As mulheres, criadoras históricas de conhecimentos na agricultura e na alimentação, seguem produzindo em torno de 80% dos alimentos nos países mais pobres e que hoje são as principais guardiãs da biodiversidade e das sementes crioulas, se encontram especialmente afetadas pelas políticas neoliberais e sexistas. Nós sofremos as conseqüências dramáticas destas políticas: pobreza, insuficiente acesso aos recursos, patentes sobre a vida, êxodo rural e migração forçada, guerras e todas as formas de violências físicas e sexuais. Os monocultivos, incluindo aqueles consagrados aos agrocombustíveis, assim com a utilização massiva de produtos químicos e organismos geneticamente modificados, tem efeitos negativos sobre o meio ambiente e sobre a saúde humana, em particular, sobre a saúde reprodutiva. O modelo industrial e as transnacionais ameaçam a existência da agricultura camponesa, a pesca artesanal, a vida pastoril, assim com a fabricação artesanal e o pequeno comércio dos alimentos nos meios urbanos e rurais, setores onde as mulheres desempenham um papel importante. Queremos que a alimentação e a agricultura saiam da OMC e dos acordos de livre comércio. Mas também, rechaçamos as instituições capitalista e patriarcal que concebem os alimentos, a água, a terra, os conhecimentos dos povos e o corpo das mulheres como simples mercadorias. Colocando-nos na luta por igualdade entre os sexos, não queremos usufruir mais nem da opressão das sociedades tradicionais, nem das sociedades modernas, nem do mercado. Queremos aproveitar esta oportunidade para deixar para traz todos os prejuízos sexistas e desenvolver uma nova visão de mundo, construída sob os princípios de respeito, igualdade, justiça, solidariedade, paz e liberdade. Estamos mobilizadas. Lutamos pelo acesso à terra, aos territórios, à água e às sementes. Lutamos pelo acesso ao financiamento e a equipamentos agrícolas. Lutamos por boas condições de trabalho. Lutamos pelo acesso à formação e a informação. Lutamos por nossa autonomia e pelo direito a decidir por nós mesmas, assim como a participar plenamente nas instâncias de tomada de decisões. Olhando Nyéléni, mulher da África que desafiou as normas discriminatórias, que brilhou por sua criatividade e por sua produtividade agrícola, encontraremos a energia necessária ao direito à soberania alimentar, portadoras da esperança para construir outro mundo. Esta energia, a buscamos em nossa solidariedade. Levaremos esta mensagem a todas as mulheres do mundo. Nyéléni, 27 de fevereiro de 2007
Fonte: movimientos.org
Curso - Espanhol e Inglês para Projetos Especiais
Projeto América Latina Palavra Viva: cursos individuais de Espanhol e Inglês em seu local de trabalho ou domicílio. Esta metodologia de atenção satisfaz a necessidade concreta daquelas pessoas que por razões intelectuais, comerciais, científicas, ou de outra natureza específica, têm necessidade de adquirir um conhecimento dinâmico, não só da língua, quanto dos países e das culturas que deverão visitar ou das sociedades onde residirão. É um método ameno que garante o conhecimento amplo do espanhol e do inglês para luso-falantes,. O custo do curso se determina de acordo com a carga horária, não havendo despesas de materiais.
Valor: R$ 25,00 por hora/aula.
Santos Populares da Argentina:
O Gauchito Gil – 1ª parte.
Un poco de Historia –Nuestras regiones, a lo largo y a lo ancho del país (como se suele decir), cuentan costumbres, ritos, leyendas, mitos e historias que nutren la vida cotidiana de su gente, y dan sentido a infinidad de acciones, motivaciones y esperanzas. Protegen y explican sucesos, fortalecen y marcan, por que no decirlo así, la identidad de los pueblos. En este hacer se reivindica la creencia de poderes y gracias especiales que como un don poseen algunas personas que a su vez darán protección a otras. En esta creencia tienen lugar los cultos y celebraciones profesados a vírgenes y santos de
En la zona del litoral, por ejemplo, se narran en toda ocasión leyendas y santificaciones populares que pueden verse plasmadas en las festividades, en el santoral de los pueblos, en su geografía… En Corrientes son casi exclusivamente de raíz guaranítica o guaraní y el pueblo practica en relación con ellas una devoción tal que ha abierto sus fronteras a comunidades del más variado origen y lugar. Estas leyendas no son vividas como tal sino como hechos y experiencias que ocurrieron alguna vez a un ser como ellos, a un compañero que hoy es un compañero de alma. Son autóctonas y desentrañan el sentir de la gente del lugar, uniendo el ayer y el hoy en una fe capaz de sembrar en cualquier terreno. Es así que hoy, ritos y celebraciones que eran patrimonio cultural de una zona pequeña y desconocida para muchos, son de la madre tierra y de todos los que en ella viven. Se observan muestras de ello a miles y miles de kilómetros. Esto pasa tanto con los santos populares correntinos, como con los de la puna o de la patagonia por mencionar sólo algunos. Y hablan a viva voz de la idiosincrasia creyente y abnegada de la gente que habita nuestros territorios. Estas creencias van de la mano de la naturaleza y del hacer del hombre en ella y es profundamente costumbrista motivo por el cual es fácil reconocer en cada una de estas prácticas al pueblo que le dio origen.
De la tarea de contador de historias, lo más emocionante es el espíritu que surge para acercarte a una nueva vivencia, a su fuerza, a otra gente que como vos intenta andar por los caminos de la vida.Santo Popular
Antonio Mamerto Gil Núñez, Gauchito Gil simplemente es hoy uno de los santos populares más difundidos entre la gente, de boca en boca, de milagro en milagro podría decirse.
Por todos lados, en Corrientes, Entre Ríos, en
JOAN BAEZ
Joan Baez was born in
Vanguard Records signed Baez and in 1960 her first album, "Joan Baez," came out. Baez was known for her soprano voice, her haunting songs, and, until she cut it in 1968, her long black hair. Early in her career she performed with Bob Dylan, and they toured together in the 1970s.
Subjected to racial slurs and discrimination in her own childhood because of her Mexican heritage and features, Joan Baez became involved with a variety of social causes early in her career, including civil rights and nonviolence. She was sometimes jailed for her protests. Joan Baez married David Harris, a
In 1967, the Daughters of the American Revolution denied Joan Baez permission to perform at Constitution Hall, resonating with their famous denial of the same privilege to Marian Anderson.
Early in her career, Joan Baez stressed historical folk songs, adding political songs to her repertoire during the 1960s. Later, she added country songs and more mainstream popular music, though always including many songs with political messages. She supported such organizations as Amnesty International and Humanitas International. Joan Baez continues to speak and sing for peaceful solutions to violence in the Middle East and
Selected Joan Baez Quotations
• My concern has always been for the people who are victimized, unable to speak for themselves and who need outside help.
• Action is the antidote to despair.
• All serious daring starts from within.
• I've never had a humble opinion. If you've got an opinion, why be humble about it?
• Instead of getting hard ourselves and trying to compete, women should try and give their best qualities to men - bring them softness, teach them how to cry.
• It seems to me that those songs that have been any good, I have nothing much to do with the writing of them.
The easiest kind of relationship is with ten thousand people, the hardest is with one.
• Only you and I can help the sun rise each coming morning. If we don't, it may drench itself out in sorrow.
• You don't get to choose how you're going to die. Or when. You can decide how you're going to live now.
Fotos: Dana Tyman
Questo delizioso dolce di pasta lievitata chiude tradizionalmente il pranzo pasquale insieme alle uova di cioccolato, perché fin dai tempi più remoti, sia all’uovo che alla colomba era attribuito un forte valore simbolico di pace, rinascita e amore.
Secondo
La colomba, intesa come dolce, sembrerebbe abbia profonde radici nell’epoca medioevale, quando Re Alboino calò in Italia con le sue orde barbariche ed assalì Pavia. Si narra che dopo un assedio di tre anni, arso da un forte desiderio di vendetta, finalmente Alboino riuscì ad entrare in città, alla vigilia della Pasqua del 572 (?).
Il sovrano, prima di dare alle fiamme la citta e passare gli abitanti di spada, ricevette in segno di sottomissione vari regali fra i quali anche dodici meravigliose fanciulle che avrebbero dovuto deliziare le sue notti. Mentre stava decidendo sul destino di Pavia, davanti al suo trono, ubicato nel sagrato della basilica, si presentò a parlare un vecchio artigiano con dei pani dolci a forma di colomba: "Sire, io ti porgo queste colombe quale tributo di pace nel giorno di Pasqua”. All'assaggio i pani risultarono così buoni da spingere il sovrano ad una promessa: "In onore di queste colombe, rispetterò la città e i suoi abitanti". Quei doni presentati ad Alboino nascondevano però un sottile inganno. Infatti, quando il re prese ad interrogare le fanciulle che gli erano state regalate, domandando a ciascuna il proprio nome, scoprì che rispondevano tutte a quello di “Colomba”. Alboino comprese l’arguto raggiro che gli era stato giocato, ma rispettò lo stesso la promessa di salvare sia le "Colombe" che Pavia.
La creazione della colomba pasquale è legata però anche ad un’altra leggenda, fatta risalire al tempo della battaglia di Legnano (1176), vinta della Lega dei Comuni lombardi contro Federico Barbarossa.
L’idea del dolce sarebbe nata ad un condottiero del Carroccio, che avrebbe fatto confezionare dei pani a forma di colomba in omaggio ai tre voltili bianchi, simbolo di protezione suprema, che durante la battaglia si erano posati sopra alle insegne lombarde.
I primi ingredienti di questo dolce pasquale erano molto semplici: uova, farina e lievito. In seguito ne furono aggiunti di più ricchi: burro, zucchero, mandorle e canditi.
Woody Allen is one of a handful of American filmmakers who can rightly be labeled as an auteur. His films, be they dramas or comedies, are remarkably personal and are permeated with Allen's preoccupation with art, religion and love. While the comedies are generally upbeat and the dramas rich in detail, most of his films are fiercely personal, betraying a yearning for physical beauty, a traditional sense of machismo, intellectual and professional acceptance and knowledge. Allen's obsessions with Judaism, the WASP world that eludes the Jew, and the balm of psychiatry--which may or may not chase these devils--are also never far beneath the surface of his work.
The Brooklyn-born Allen purported failed a film course at NYU during his first semester. Dropping out of college, he joined the NBC Writer's Program and began contributing material to such programs as "The Colgate Comedy Hour" and "Your Show of Shows". Allen also started a lucrative secondary career as a gag writer for such comics and nightclub performers as Carol Channing, Art Carney, Herb Shriner and Buddy Hackett. By 1960, he had begun his own successful career as a stand-up comedian, honing what would become his screen persona, the intellectual "schnook". Inspired by Hope, Nichols and May and Mort Sahl, Allen created humor that was based in the urban Jewish mentality, guilt-ridden and anxious. In his halting stammer, he would deliver monologues that would poke fun at everything from sex and marriage to religion and politics. His routines proved popular not only in Greenwich Village cabarets but also on college campuses and recordings. So successful was Allen that his audience came to believe he was that person on stage. (Despite protestations, he continued to nourish this belief in his onscreen characterizations).
In 1965, Allen made his feature film acting and writing debut with the farcical, but uneven, "What's New, Pussycat?", directed by Clive Donner. This film introduced recurring themes found in his work: romantic complications and the reliance on psychotherapy. Shortly thereafter, he debuted as a filmmaker of sorts by re-tooling a minor Japanese spy thriller with his own storyline and with English dialogue dubbed by American actors. The amusing result was "What's Up Tiger Lily?" (1966) that, along with the James Bond spoof "Casino Royale" (1967), which he co-wrote and acted in, launched Allen on one of the most successful and unusual filmmaking careers.
For a period in the mid- to late-1960s, Allen concentrated on the Broadway stage. "Don't Drink the Water" (1966), about a family from New Jersey caught up in spying in an unnamed Iron Curtain country, was a modest success. "Play It Again, Sam" (1969) was more successful. The central character, a film critic invokes the spirit of Humphrey Bogart as his guide through life and love. Successfully treading the fine line between fantasy and reality, the play was filmed in 1972 and began Allen's long association with actress Diane Keaton.
Diane Keaton
In 1969, Allen created two short films for a television special, "Cupid's Shaft,” an homage of Charlie Chaplin's 1931 classic "City Lights" that co-starred Candice Bergen, and a loose adaptation of "Pygmalion" in which Allen as a fake rabbi hired to teach a beautiful, but stupid woman (Bergen). That same year, he wrote, directed and starred in the feature "Take the Money and Run" which parodied both gangster films and cinema verite documentaries. The loose structure, lack of technical polish, and indebtedness to his nightclub routines are also evident in his next two features as well.
"Bananas" (1971) was a south-of-the-border satire that lambastes both politics and mass media while "Everything You Always Wanted to Know About Sex* (*but were afraid to ask)" (1972) consisted of a series of skits loosely related to a title borrowed from a then-popular self-help book.
While Allen's films were not blockbusters, they did turn enough of a profit for the writer-director-star to begin creative control of his work. As the 70s progressed, Allen found his voice as a filmmaker. "Sleeper" (1973), about a 20th Century health food store owner who is cryogenically frozen and thawed out after two hundred years is filled with sight-gags yet has a curiously apolitical tone. "Love and Death" (1975) marked a leap forward for Allen as he interwove serious themes with the comedy. Set during the Napoleonic wars, the film not only spoofed Russian literature and culture as well as numerous classic films (e.g., "Alexander Nevsky") but also raised serious philosophical questions. "Love and Death" signaled Allen's higher aspirations and desire to be considered a "serious" moviemaker.
The bittersweet "Annie Hall" (1977) was a further step toward this goal. While still anchored in comedy, Allen utilized sophisticated narrative devices (such as direct address to the camera), relied less on slapstick and sight gags and clearly tackled themes and problems that were reflective of his concerns and his life. In Alvy Singer, the writer-director-actor solidified his screen persona as the urban, Jewish intellectual outsider. For many, the film defined the quintessential Allen movie: personal and thoughtful yet satiric and entertaining. Critically-acclaimed, "Annie Hall" received numerous accolades, including four Academy Awards: Best Picture, Best Actress (Diane Keaton), Best Director (Allen) and Best Original Screenplay (Allen and Marshall Brickman).
Allen moved on to the somewhat self-indulgent Felliniesque "Stardust Memories" (1980), made in part to counter-act those critics who felt he was becoming too serious a filmmaker. (Throughout the film, Allen's character, a film director, is exhorted to "make funny movies", something the character is adamant about no longer doing.) Beginning with the slight "A Midsummer Night's Sex Comedy" (1982), Allen found a new leading lady (both on and off screen) in Mia Farrow. (She went on to headline a dozen more films during the next ten years, proving to be both a strong dramatic performer as well as a gifted comedienne.) 
"Zelig" (1983) melded Allen's fascination with celebrity with his growing grasp of cinematic methods. A marvel of technical wizardry, this mock documentary inter-cut and merged new footage with old to recreate vintage newsreels and sound recordings. (In many ways, a precursor of the techniques utilized by Robert Zemeckis in 1994's "Forrest Gump").
Jeff Daniels
The Runyonesque "Broadway Danny Rose" (1984) was primarily dismissed by critics as a minor outing, yet it contains a marvelous performance from Farrow who was virtually unrecognizable as the Brooklyn-accented former mistress of a gangster. "The Purple Rose of Cairo" (1985), in which Allen did not appear, was another technical tour de force. Set in the Depression, Farrow was cast as the timid wife of an abusive husband who finds refuge at the movie theater. Her life is complicated when the matinee idol lead (Jeff Daniels) of a film one day steps off the screen and into her life. Tying together several of Allen's major themes (fame, romance, fantasy and art), the film earned respectable notices and a modest box office.
Except for the nostalgia-laden "Radio Days" (1987), for much of the remainder of the decade, Allen concentrated on dramatic material, peaking with the Chekhovian "Hannah and Her Sisters" (1986), which focused on New York family relationships. Allen received his third Oscar for its brilliant original script. The bloodless "September" (1987) and the Bergmanesque "Another Woman" (1988, with a virtuoso leading turn from Gena Rowlands) were further examinations of the emotionally bereft worlds of WASPy New Yorkers. With "Crimes and Misdemeanors" (1989), Allen closed the decade with a pessimistic examination of the morality of murder.
The early 90s found Allen in a lighter mode. The New Age-themed "Alice" (1990), a riff on Lewis Carroll's "Alice and Wonderland", that cast Farrow as a distaff WASPy version of Allen's familiar flustered, neurotic self-conscious screen persona. The critically-reviled "Shadows and Fog" (1992) was an allegory about anti-Semitism that combined homages to 1930s German expressionism and 1950s European art films and was plagued by one-note characterizations. "Husbands and Wives" (also 1992), though not without humor, was one of the director's most emotionally violent films. Highlighted by jittery, hand-held cinema verite camerawork and a pessimistic view of enduring love, the film was released early by its distributor in part to capitalize on its uncanny parallels with the real-life turmoil between Allen and Farrow. Their very public break-up, spurred by Allen's romantic involvement with Farrow's adopted daughter, was followed by Farrow's public accusations that Allen had molested their adopted daughter. In the midst of all the Sturm und Drang, Allen made the frothy "Manhattan Murder Mystery" (1993), which reunited him with Marshall Brickman and Diane Keaton. A comic thriller that attempted to recreate the banter and urbanity of such seminal films as "The Thin Man,” "Manhattan Murder Mystery" proved to be a financial disappointment, overshadowed by Allen's personal troubles.
Mia FarrowBy the time "Bullets Over Broadway" was released in 1994, audiences were ready to embrace his work anew. Working with writer Douglas McGrath, Allen fashioned a period comedy about a playwright (John Cusack as Allen's screen alter ego) who achieve success through connections with gangsters. A meditation on what defines an artist, "Bullets Over Broadway" benefited from fine performances, notably Dianne Wiest's Oscar-winning turn as a past-her-prime stage diva. "Mighty Aphrodite" (1995) was an uneven attempt that baldly proclaimed its indebtedness to Greek theater with the use of a chorus. Allen played a middle-aged sportswriter searching for the birth mother of his adopted child, who turns out not to be the cultured woman he imagined but rather a vulgar prostitute. With "Everyone Says I Love You" (1996), he combined frothy 30s musical sensibilities with his familiar themes to a mixed result that divided audiences and critics. "Deconstructing Harry" (1997) was a critically-praised, scatological and complex look at a writer's life that employed black comedy and dramatizations of the author's works to comment on the function of the artist in society, while 1998's "Celebrity"—with Kenneth Branagh doing a mannered Allen impersonation in the leading role—was considered a misbegotten, poorly cast take on the contemporary obsession with fame.
Alone among contemporary independent filmmakers, Allen has had a constant stream of highly personal films produced and distributed with "mainstream" money, while still exerting creative control over the product. He has also enjoyed long and fruitful collaborations with talents both in front of and behind the camera. In the former category would be such performers as Diane Keaton, Mia Farrow, Tony Roberts, Dianne Wiest and Alan Alda; in the latter, cinematographers Gordon Willis and Carlo Di Palma, producers Jack Rollins, Robert Greenhut and Jean Doumanian, designers Mel Bourne and Santo Loquasto, editors Ralph Rosenblum and Susan E Morse. A remarkable businessman, Allen has protected himself with low budgets that allow him to reach his like-minded, intelligent and mostly urban audience on a regular basis.
In addition to his impressive body of work as writer-director, Allen has occasionally acted in films directed by others. He proved quite effective as the titular "The Front" (1977), a shill willing to put his name on the scripts written by blacklisted writers. Allen fared less well as Bette Midler's husband in Paul Mazursky's seriocomic look at contemporary marriage "Scenes From a Mall" (1991). Allen returned to TV to adapt, direct and co-star in a small screen remake of "Don't Drink the Water" (ABC, 1994). He and Peter Falk filmed a TV version of Neil Simon's "The Sunshine Boys" for CBS in 1995, that finally aired in December 1997 to generally unfavorable notices. Allen is also an accomplished author, penning essays and short stories for The New Yorker and other magazines, and musician. For many years, he has spent his Monday evenings playing clarinet with a jazz band. Noted documentarian Barbara Kopple filmed "Wild Man Blues" (1998) which followed Allen and the band on a European tour.
Even better was his next project, "Match Point" (2005), an entirely serious, morality-minded effort featuring Jonathan Rhys-Myers as a social climbing tennis pro who believes he would rather "be lucky than good," who finds himself torn between his comfortable, practical, status-confirming union with a loving wife (Emily Mortimer) and his torrid affair with a sensual but ultimately demanding American actress (Scarlett Johannson). Again, Allen did not appear as an actor in the film, and even more significantly, neither did New York City: the film was shot entirely in London. "Match Point" demonstrated that Allen still had considerable power as a filmmaker and fresh subject matter to explore as a screenwriter. His continued significance as a writer was validated with an Academy Award nomination for Best Original Screenplay. Meanwhile, Allen went back to work on his next project, “Scoop” (2006), a comedy set in London about an American journalism student who investigates a series of murders and falls in love with a dashing Englishman.
