Radio Days

In preface, let me say that I was born at the tail-end of the "golden age of radio," but just in time to experience a touch of its magic and the hold it had on households night after night in that pre-TV era. Add to that a favorite aunt who had worked in radio for years on the West Coast and who regaled her nephew with story upon story, which in turn led to the years I later spent in radio (luckily, prior to the "formula radio" days). It all adds up to my absolutely having to go see "Radio Days" when it first came out, despite the fact that I'd never been the world's foremost Woody Allen fan. Too much of his work, for me, lacked that indefinable but oh so recognizable element of "heart."

Well, I was wrong about Woody. This film shows it.

Autobiographical -- or perhaps semi-autobiographical -- in nature, "Radio Days" evokes the time when people returned "to those thrilling days of yesteryear," and for whom, quite probably, it was equally thrilling to contemplate the magic of a box in their living room that could cause them to "watch" the stories unfold in their minds. "Remotes," or on-the-spot broadcasts transported them to the scene of unfolding tragedies or triumphs in a way that newspapers never could (and which TV, for all its advantages, rarely matches).

And yet the film, for all its authenticity in recreating studio practices (watch, for example, how the actors drop completed script pages onto the floorrather than turning them and risking a tell-tale rustle of paper), isn't really so much about radio itself as it is about the people who listened, as personified by one raucous, cantankerous and loving Brooklyn family. Beautifully evoked, particularly by Julie Kavner (Mother), Michael Tucker (Father), and the incomparable Dianne Wiest (as the perenially lovelorn Aunt Bea), it is their reactions to what they hear on the radio -- whether listening breathlessly to the war news (at a time when the end result was anything but certain) or Bea's abandonment in the middle of nowhere by a panicked suitor as Orson Welles' "War of the Worlds" broadcast takes hold -- that bring to life the era and the power of that medium.

Standouts? The whole cast is perfect, but for me, in addition to those previously mentioned, I have to cit Mia Farrow's portrayal of the dim-bulbed Sally White, who transforms herself with the aid of speech lessons into a radio personality. (For that matter, catch Danny Aiello as a less-than-brilliant hitman, particularly his scenes with Dina DeAngeles as his mom.)

Criticisms? One: At the end of a poignant scene in which young Joe has finally discovered what his dad does for a living, Allen insists on falling into some standby "schtick" in his voiceover. (I guess he couldn't resist; thankfully, it doesn't ruin the moment.)

Ultimately, of course, it is the era itself that this film celebrates. Faithfully, and lovingly, it is recreated with a skill that points up its absurdities at the same time it makes one hopefully nostalgic. And, if you're not very careful, you wind up falling hopelessly in love with this funny, obscure Brooklyn family.

And to the end of my days, I'll always wonder whether poor Aunt Bea ever did find her "Mr. Right" . . .

This movie starts with two burglars answering the phone during a break-in. They win the radio contest and the next day, the homeowners are shocked by the arrival of the winnings after finding their home robbed. Woody Allen narrates this nostalgic recollection of vignettes during his childhood. Joe (Seth Green) lives in Rockaway Beach with his parents Tess (Julie Kavner) and Martin (Michael Tucker) as well as an extended family. His imagination and his memories deliver stories about the people in his life and the radio they listen to. There is the War of the Worlds broadcast. Joe's favorite character is the Masked Avenger. There are also stories about the radio peronalities and aspiring actress cigarette-girl Sally White (Mia Farrow).

Woody delivers a loving tribute to the concept of radio through the eyes of childhood. This has a large cast with wide ranging vignettes. It's imaginative, touching, and fun. The characters are specific and compelling. There is a terrific veneer of memory. Through all the surreal and the real, there is the love of family and radio that transcends the screen onto the audience.

RADIO DAYS is one of Woody Allen's most underrated comedies, a fond look back to the days of radio and its effects on his family.

Set against long-forgotten radio programs, hit songs, and the coming of World War II, we get two narrative threads. The Rockaway family dealing with everyday issues in a series of vignettes, and the fictional life of Sally White (Mia Farrow) as she rises from cigarette girl to glittering radio star.

The cast is excellent. Farrow has a solid role as the Brooklyn girl with the Judy Holliday voice who battles her way toward upward mobility. Julie Kavner and Michael Tucker are terrific as the parents. Dianne Wiest is sweet as Aunt Bea, always on the lookout for true love. Seth Green plays Woody as a kid. Diane Keaton and Kitty Carlisle show up as singers. Josh Mostel and Renee Lippin are hilarious as the aunt and uncle. Wallace Shawn has a funny bit as the "Masked Avenger." Other notables include Richard Portnow as Si, Kenneth Mars as the rabbi, Larry David as the crazed neighbor, Jeff Daniels and William H. Macy as radio actors, Tony Roberts as the game show host, Danny Aiello as the gangster, and a special kudo for the hilarious Gina DeAngelis as his mother.

Highlights include Bea's date on the night of Orson Welles' famous radio program about a Martian invasion, and the poignant episode about the live radio coverage of a girl who's fallen down a well. The film also takes nostalgic looks at radio serials, quiz programs, and comedy shows.

The film perfectly captures the middle class neighborhood of Allen's youth. The interiors are beautifully done (Santo Loquasto), and very memorable is the awe-inspiring visit to Radio City Music Hall with its dimmed lights, lush carpets, and warm red-and-gold tones.

There is also a parade oh hit songs of the day that include "September Song," "Tico Tico," "Mairzy Doats," "South American Way," "Pistol Packin' Mama," "If I Didn't Care," and so many others.

A final word for the many actors and actresses in small parts who make this movie feel so right. Many have walk-ons or have only a line or two but they add the perfect touch and help recreate Woody Allen's beloved New York City.

In my opinion, Radio Days is right up there with Annie Hall though it's different in that it's following several people's lives. Woody doesn't act in this, but his narration is excellent.

He takes the wonderful old songs and commercials from that time and weaves them into the story. I was completely captivated.

It's not a "laugh a minute" type film, but it also gets you thinking. Nevertheless, it has some hilarious scenes. Check out the Jewish fasting holiday scene. I've watched it at least 6 times and I still laugh. Also the scene with Mia Farrow's character was superb. One of my favorite lines is when she tells a top radio producer in her high-pitched nasal voice, "Jeez. We can't keep meeting like this. In the backs of cars, movie theaters and stalled elevators. You're gonna lose your respect for me!" I love this film.

This movie shouts one word: WARMTH. The colors, the plot, the characters, they are all wonderfully warm.

I've watched this movie with senior citizens who were around in the forties. I once watched it with a Jewish guy who grew up on Long Island (albeit in the early 30's, not the 40's). All comments were the same: THIS was life in New York during wartime.

Vietnam was my war, so this era was a mystery to me. However, any time a genius like Woody Allen can create a film that not only makes me and my rowdy friends laugh, but gets guffaws from my dear old Mom as well, it deserves a little fanfare.

I didn't even mention the solid gold music.

See this film at once!