1920s Broadway. Playwright David Shayne considers himself an artist, and surrounds himself with like minded people, most struggling financially as they create art for themselves, not the masses. David, however, believes the failure of his first two plays was because he gave up creative control to other people who didn't understand the material. As such, he wants to direct his just completed third play, "God of Our Fathers", insider scuttlebutt being that it may very well make David the toast of Broadway. With David having no directing history, David's regular producer, Julian Marx, can't find any investors,... until a single investor who will finance the entire production comes onto the scene. He is Nick Valenti, a big time mobster, with the catch being that his dimwitted girlfriend, non-actress Olive Neal, get the lead role. A hesitant David and Julian, who are able to talk Nick into them giving Olive one of the two female supporting roles instead, go along with the scheme hoping ...Written by
Jennifer Tilly revealed on an interview given in 2017 that, when she found out that the Weinstein Company was pushing only Dianne Wiest for the Supporting Actress category at the Oscars, she orchestrated her own campaign in talk shows and buying ads to build buzz around her, which resulted in an Oscar nomination for her as well, something that the Weinsteins hated her for, she said. See more »
Helen gives David a gift on his birthday, and calls him a Scorpio. Two scenes later, it is September 24th. The sun enters the sign of Scorpio at the end of October. David is a Virgo or a Libra. See more »
[Helen complains about her role]
She's dowdy. Sid, the ingenue has all the hot lines. Even the female psychiatrist is a better role.
But the role of Sylvia Poston is the lead.
"Sylvia Poston." Even the *name* reeks of Orbach's. I do Electra. I do Lady Macbeth. I do plays by Noel and Phil Barry, or at least Max Anderson.
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Woody Allen is a genius indeed. Once more in this movie he presents us with a mixture of intelligence and humour conveyed by his famous witty dialogues where the characters seem to play with serious things but are indeed giving us through humour an image of what people think and feel about life nowadays and about the relationships that spring among them. This story mix up with considerable success two ingredients that "a priori" seem not to combine very well: the world of theatre with the world of mafia and gangsterism in the crazy twenties of last century. All the characters are very typical and greatly performed: the young playwright looking for a place in the sun, the ham actress who overacts a lot even in real life, the mafia boss who imposes his girlfriend on the playwright as an actress, the Greenwich Village intellectuals and so on. In my opinion however the feeblest character is the one of the gangster who becomes also playwright from a certain moment on. Some of his interventions lack authenticity. But this is only a minor flaw in the whole. Like all the other Woody Allen's movies this one seems superficial at first sight but it's well made and deep enough to amuse us and simultaneously make us think and feel life in it.
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