Broadway Danny Rose

"Broadway Danny Rose," other than featuring Woody Allen as a neurotic character attached to the entertainment industry in some fashion, has a much wider appeal than much of Allen's other work. Instead of targeting the upper-middle class with societal rants and characters more concerned with their personal and social lives than anything else, "Danny Rose" is for the working-class folk, a story that aims to humble the Hollywood or Broadway ego that believes that you have to be self-serving to be in show business.

The story of the film is told by a bunch of entertainers at the Carnegie Deli in Manhattan, reminiscing about Rose (Allen), an agent for the most obscure acts in New York back in the '50s and '60s. One of them claims to have the best Danny Rose story and his telling serves as narration to the film.

The story revolves around Rose and his biggest talent, Lou Canova (Nick Apollo Forte), an old-fashioned Italian crooner doing covers of Sinatra and all kinds of classic tunes from what back then was considered a "bygone era," but Lou is having a resurgence. Problem is he's an alcoholic and a womanizer. He insists on having the woman he's having an affair with attend his big performance at the Waldorf (that could get him a national gig). Other problem is, this Tina (Mia Farrow) was told Lou was cheating on her, so now she's run off to her Italian mob family and through strange circumstances, the mob wants to knock Danny off.

There are elements of classic comedy here, which is why the black and white works for "Danny Rose." At the same time, it's a nostalgic film (the early '80s was full of that for Allen) and an intimate one.

Without spoiling too much, the key to "Danny Rose" relies in the conflict between self- interest and dependency on others. In a way, it's Allen's way of saying thank you or perhaps apologizing to those that have been part of his personal journey.

No one does it alone, especially not Danny Rose, a character whose living is dependent on the talents and aspirations of others and who lives solely by the advice he remembers from deceased relatives. Then there's Lou, who can't perform unless Tina is there but loves his wife dearly, and then Tina, who can't make any major decision without consulting a psychic elderly woman.

"Danny Rose" has some memorable Woody Allen quotes and classically comical situations such as he and Farrow's Tina "wriggling" their way out of some ropes tying them together as a former escape artist client of Danny's used to say, or when they're chased into the Macy's Day Parade balloon warehouse.

The film is simplistic but truthful and it's nice to see Allen make a point that's so universal instead of one about affluent people solving their life crises.

This is a chamber piece, shot during Allen's black and white period. The first time I saw it, in a cinema, I found it disappointing, somehow uncinematic. I saw it a second time, on television and it seemed much more comfortable in that medium.The third time I saw it, some twelve years later, it seemed like a little gem.

A squeaky voiced Mia Farrow disguised in a curly blonde wig and dark glasses foreshadows Mira Sorvino's performance in Mighty Aphrodite. The rest of the cast are unknown, some of the actors being real-life Jewish comedians and speciality acts. It is interesting to reflect on the interchangeability of Jewish and Italian behaviour in the film, the exaggerated emotions and the theatrical gestures. This is something that is apparent in other films such as Dirty Dancing or Moonstruck, which would have worked equally well as Jewish films or Italian films.

Allen gives one of his best performances as the hapless Danny, promoting a portfolio of one-legged tap-dancers, one-armed jugglers, balloon folders, parrot acts and glass harmonica players. He achieves a pathos which is lacking in his more autobiographical roles. The reconciliation scene at the end is reminiscent of Chaplin in City Lights.

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.

Although a very funny film, Broadway Danny Rose is more of character study and philosophical morality play. This film explores the life and values of Danny Rose (played by Allen)--a theatrical talent manager. Although he appears to be a hapless loser, Rose is smart enough to know how to get ahead in his business (do it to others before they do it to you) but is prevented from acting thusly by his morality and his compassion for his clients--which he treats like family. He pours all his energy into his clients' careers only to be abandoned by them when they finally hit it big. In the course of an "adventure" with the hard-bitten Farrow, his values imperceptibly rub off on her and begin working on her conscious. Her moral conversion is completed when she seeks Rose's forgiveness at the much talked about Thanksgiving dinner--a scene not about pathetic losers but rather a study of fellowship, compassion, redemption, and forgiveness.

Allen and Farrow both give career performances. Nick Apollo Forte is absolutely wonderful. The casting, locations, directing, and performances could not be better. Every aspiring film maker should study this film as the perfect example of a powerful "little" film. Watch the film several times and you'll like it more each time. It is may favorite Woody Allen film (everything else is a distant second) and one of my favorite films of all time. The film's lack of commercial and critical success speaks volumes about the sensibilities and values of our society.

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.