Broadway Danny Rose

Broadway Danny Rose (1984) -written/directed by Woody Allen who played the titular character, the small time show-biz agent with the clients like "blind xylophonists, piano-playing birds, and has-been crooners with drinking problems." Danny may not be successful but the famous comics having a good time in the legendary Carnegie Deli, Manhattan, NY tell the stories about him. "Broadway Danny Rose" may be considered as a minor Allen's work but it is equally charming and amusing dramedy that pays specific homage to Damon Runyon who is famous for portrayal New York City's colorful lowlifes of the 1920s and '30s when "respectability and the demi-monde rub shoulders".

Danny's problem is that as soon as one of his clients makes it to the top, they would drop him in favor of a big-name agent. Danny stuck with a drinking, self-centered Italian crooner Lou who is attempting (and just about to make it) a comeback, and Danny, being a loyal and protective agent, unwittingly gets involved with the singer's girlfriend Tina whose family has a long memory and strong resemblance to Soprano family. No wonder poor Danny needs "a valium the size of a hockey puck". Mia Farrow is almost unrecognizable as a tough and vulgar (but not a dumb) blonde. Her philosophy is her way of life "It's over quick, so have a good time. You see what you want, go for it. Don't pay attention to anyone else. And do it to the other guy first 'cause if you don't he'll do it to you." She obviously acts on her words but in the end of the movie she realizes that the things which count most in life are "acceptance, forgiveness, love" which is Danny's philosophy. She was cast against the type and it worked brilliantly in the funny but touchingly nostalgic movie. "Broadway Danny Rose" is a sparkling gem from the writer/director/star, one and only Woody Allen. I never expect anything else from him.

I watched this film last weekend after having the DVD on my shelf for almost a year, not realizing what an amazingly beautiful film I have in my collection. I do not have any further insight to offer towards this movie than what some reviewers here have already put so well. But if you haven't seen this touching and funny little gem from the master Allen then do watch it. The Thanksgiving dinner finale that's mentioned in so many posts here makes you believe in the magic of cinema. One cannot help but be moved to tears just seeing that expression on Woody's face and the hope and dreams of all the "artists" present at the frozen-turkey dinner. The diners at the restaurant sums it up the best as Danny Rose being a true legend on Broadway.

It's movies like these that come along once in a blue moon that make the wait and the heap of junk one is so often subjected to, worth it.

I have never been able to relate to many of Woody Allen's films, although I would say that nearly all of them are quite well concieved and executed. Broadway Danny Rose is something quite unique, I mean that the script is simply beyond belief. How someone could concieve of all those lines is truly remarkable. It is one of the most quoteable films I have ever seen. The lines which are memorable are tinged with this incredible satiric and ironic sense of humor. The scenes are at once super realistic and very funny. Woody Allens way of making fun of people is at its best here. The opening scene where Lou Canova is at the lounge singing "I Like The Look Of You...", wow, the cast of characters assembled, how could anyone have found these people. I guess alot of credit is due to the person who cast the film. If you look at the credits you see that most of the faces which appear were appearing in their only film. This is the basis of the movie's genius. Then there are lines like: "I'll open with Volare and You Make Me Feel So Young... or "I don't know whether to go with Boulevard of Broken Dreams or Three Coins in a Fountain as an encore... or "Lou's probably drinking out of a promotional sized whiskey bottle by now.. or "If anything happens to that car I'll be furious... or "He made juice for the mob?... or "Allow me to interject one point at this juncture... or "Weinstein's majestic bungalow colony is a classy joint, I need a classy act, how about Sonny Chase, he's fast, he's funny... or "Pee Wee has been eaten by a feline, that comes under the act of God clause... or "If you take my advice, you'll probably be one of the great balloon folding acts of all time. I really wish I could find this for sale. It's a film which can be watched repeatedly without risk of boredom or redundancy. A great film around Thanksgiving time. Joe Franklin, Howard Cosell, Milton Berle. New York City circa 1972. The Waldorf. The 70's garb. New Jersey Italians by the dozen. Angelina the fortune teller and her little dog and assistant. "And yet he cares for you... Don't go to him, take care of old buisness... Time out... "Lou, the directions were good, it was a Gulf station... "A cheap blonde, Lou... I could keep spouting fragments of the script for an hour and I don't mean to be didactic or facetious.

Upon my initial viewing of "Broadway Danny Rose" ("BDR," as I will refer to it henceforth) when it opened in theaters back in 1984, I recall being somewhat disappointed at this seemingly frothy, light-weight film. Sometimes it takes additional viewings to truly appreciate the fine line between "light-weight" and "subtle." Coming off of the brilliant, sorely underappreciated "Zelig" -- and my first disappointing Allen film, "A Midsummer Night's Sex Comedy" -- I approached BDR with high-hopes. I left the theater feeling let-down at it's slapstick approach, esp. after Allen's "new" direction towards "serious" cinema. (I'm a devotee of his "Annie Hall"/post-"Annie Hall" films, as opposed to his "earlier, funny films.") How wrong was I in thinking I had seen something frivolous and trivial!

The absolute beauty of BDR not only comes from (once again) Gordon Willis' inspired chiaroscuro use of black & white photography and framing, Allen's hand-picked jazz score, succinct editing and crafty art direction, but mostly from its marvelous cast of actors -- most esp. Mia Farrow's astounding, beautifully wrought and precise performance. Upon subsequent viewings, her character's soul literally exudes through the epidermis! On top of that, the so-called "slapstick," which initially I viewed askance, turned-out to be far subtler than its initial impact. The right-on performances by BDR's numerous sub-characters also proved to be far more meaningful and poignant then initially viewed.

And, that ending.... What an ending! It has got to be one of the most heartbreaking and romantic finale's in screen history! (I say this with no hyperbole.) I have seen BDR more than two-dozen times, and it has never failed to bring me to tears (as did "Annie Hall," "Manhattan" and, his subsequent, "Hannah and Her Sisters"). The start of the scene (with Farrow's character confronting a heartbroken Allen) is pure beauty and poetry. The finale of Allen running after Farrow through the wet and rough-n-tumble streets of New York, and his (inaudible) "forgiveness" in front of the delicatessen, is nothing less than magical!

In sum, sometimes it takes a different "perspective" in looking at a piece of art to realize that there's much more there than meets the eye. Sort of like Diane Keaton's character in "Manhattan," as she pontificated with much zeal over the "textural" qualities of the "steel cube." Only this time, no pontification is needed: "Broadway Danny Rose" is pure, unadulterated romance through and through! This is a "must-see." Enjoy!

If there's one thing that almost all of Woody Allen's comedies have in common, it's charm. Few have more of it than Broadway Danny Rose. Not Allen's best, not his funniest, but this warm and sentimental film grabs the viewer immediately and never lets up.

This is accomplished, initially, by the extremely naturalistic dialogue between the comics whose reminiscences form the bulk of the film. Notice how they all talk at once, they cut each other off, and they trample all over each other's lines. We really feel like we're listening in on a diner conversation, rather than watching a theatrical performance of a diner conversation. This gives the film an initial boost of accessibility.

This "charm factor" is cemented once we meet Danny Rose. Now, many people criticize Allen as an actor, claiming that he only ever plays one character... himself. This is absolute rubbish, and "Broadway Danny Rose" proves it. I have never seen Allen play a character so kind, warm, and accepting as Danny Rose. It was quite a pleasant surprise. Danny has to be that good, though, in order for us to accept that Tina is haunted by her betrayal of him.

That denouement, by the way, was really touching. The Thanksgiving scene took a good, funny, enjoyable movie and made it something a little more special. Compare this to the gross-out comedies of today... how many modern comedies can be as funny as "Broadway Danny Rose," and yet still create characters so real and so sympathetic that moments like the Thanksgiving scene can work?

I try not to harp on about how funny Allen's comedies are, because you either like his humor or you don't. If you like it, you don't need me to tell you it's funny, and if you don't, you won't believe me anyway. So why bother? I don't know, but I will say that this film had a good six or eight laugh out loud moments, at least, and it kept me smiling throughout.

Also, after a good debut in "A Midsummer Night's Sex Comedy" and a reduced, subdued role in "Zelig", this is the film where Mia Farrow really comes into her own as Allen's leading lady. For the first time, I don't miss Diana Keaton.