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Whatever Works (2009) HD


"Attempting to impress his ideologies on religion, relationships, and the randomness (and worthlessness) of existence, lifelong New York resident Boris Yellnikoff rants to anyone who will listen, including the audience. But when he begrudgingly allows naive Mississippi runaway Melodie St. Ann Celestine to live in his apartment, his reclusive rages give way to an unlikely friendship and Boris begins to mold the impressionable young girl's worldly views to match his own. When it comes to love, "whatever works" is his motto, but his already perplexed life complicates itself further when Melodie's parents eventually track her down..."

Whatever Works LIMITED DVDRip XviD-SAPHiRE :

Whatever Works 2009 DVDRip x264-utkuemre :


"Jean-Luc Godard and Woody Allen. Just by those two names you will know if this short interview-film, which has been seen by likely less than a hundred people since it was filmed almost twenty years ago, will be worth to see (and 80's era Godard and Woody no less). Basically, you get Godard's madman sensibilities as a filmmaker, playing around with the structure of a director interview, and you get Woody Allen's insights. Ironically, I think this was made for video, or at least shot on it (maybe it was shot on film, I'd have to look it up), and more than half of the interview is based around the idea (that Godard proposes and Allen agrees with when understanding) that television is a corrupter of the audience. But along with questions, and even more interesting answers, about television, there are also questions and answers about the film-making process, and how Allen feels about it. While at times Godard tries to back up to TV again, one does get of course what Allen is like- immensely underrating his films once finished, and at times finding the film-making process to be more of a distraction from the other horrors of the world. Godard does (and sometimes doesn't) succeed in adding to these words of Allen's with spliced in images from his films, other filmmakers (Orson Welles), and New York city buildings, among other swell oddities..."


"...Talk about rarities - this is as rare as you can get. This is never-broadcast footage of Woody Allen being interviewed by Granada TV in Manchester in 1971 while he was in the UK to promote 'Bananas' - and it's very funny.

The Granada TV show 'Cinema' broadcast about five minutes of the interview in 1971. What we have here is the unused rushes from the rest of the interview.

When I was working at Granada in the 1980s I came across these raw rushes of the Woody Allen interview in the archive library. You can imagine how excited I, as a Woody Allen fan, was: here were about forty minutes of vintage, 'funny-period' Allen that no one - NO ONE - had ever seen. And when I ed it I wasn't disappointed: Allen deliberately undermines the entire interview process, giving deadpan faux-depressive answers to every question, while the hapless off-screen interviewer struggles to figure out whether Allen is being serious or not. He ends up in fits of suppressed laughter.

I tried to persuade Granada to release the interview on VHS along with Allen's one-off stand-up show which he did for them in 1965, but they weren't interested. So I just kept a copy for myself. Now, I've just been unpacking some old boxes in the attic and found this tape. It's a unique piece of Alleniana, and I'm pleased to be able to share it with you..."


"Before Woody Allen set his sights on becoming the next Ingmar Bergman, he made a fleeting (but largely successful) attempt at becoming the next S.J Perelman. Side Effects, his third and final collection of humor pieces, shows his efforts. These essays appeared in The New Yorker during the late 1970s, as he showed more and more discontent with his funnyman status. Fear not, humor fans--Allen's still funny. He is less manic, however, than in his positively goofy Getting Even/Without Feathers days, and this makes Side Effects a more nuanced read. Woody picks and chooses when to flash the laughs, as in an article discussing UFOs:

[I]n 1822 Goethe himself notes a strange celestial phenomenon. "En route home from the Leipzig Anxiety Festival," he wrote, "I was crossing a meadow, when I chanced to look up and saw several fiery red balls suddenly appear in the southern sky. They descended at a great rate of speed and began chasing me. I screamed that I was a genius and consequently could not run very fast, but my words were wasted. I became enraged and shouted imprecations at them, whereupon they flew away frightened. I related this story to Beethoven, not realizing he had already gone deaf, and he smiled and nodded and said, "Right."

Though not as explosively, mind-alteringly funny as his earlier books, Side Effects is still loaded with chuckles; the much-anthologized "Kugelmass Episode" is worth the price of the book. For fans of his films--or for anyone who wants a final glimpse of Woody in his first, best role as court jester, Side Effects is a must-have..."


"After three decades of prodigious film work (and some unfortunate tabloid adventures as well), it's easy to forget that Woody Allen began his career as one heck of a great comedy writer. Getting Even, a collection of his late '60s magazine pieces, offers a look into Allen's bag of shtick, back when it was new. From the supposed memoirs of Hitler's barber: "Then, in January of 1945, a plot by several generals to shave Hitler's moustache in his sleep failed when von Stauffenberg, in the darkness of Hitler's bedroom, shaved off one of the Führer's eyebrows instead..."

Even though the idea of writing jokes about old Adolf--or addled rabbis, or Maatjes herring--isn't nearly as fresh as it used to be, Getting Even still delivers plenty of laughs. At his best, Woody can achieve a level of transcendent craziness that no other writer can match. If you're looking for a book to dip into at random, or a gift for someone who's seen Sleeper 13 times, Getting Even is a dead lock..."


A cleverly conceived collection, Soundtrack Factory's Woody Allen More Movie Music gathers more vintage big-band, swing, and hot jazz songs that appeared in Woody Allen films such as Stardust Memories and The Curse of the Jade Scorpion. Highlights include Edward Heyman and Robert Sour's "Body & Soul" from Stardust Memories, Alberto Dominguez's "Frenesi" from Radio Days, Louis Prima's "Sing Sing Sing" from Manhattan Murder Mystery, and the Erroll Garner Trio's "She's Funny That Way" from Deconstructing Harry. Bunny Berigan & His Orchestra's version of "Caravan" and Duke Ellington's "Sophisticated Lady" are two of the album's other standouts, along with performances by Benny Goodman, Bix Beiderbecke, Lester Young, and Mills Blue Rhythm Band. Woody Allen More Movie Music is an appealing compilation not just for Woody Allen buffs, but for fans of '30s and '40s jazz as well.

More Movie Music :


"...When I originally saw the fim, "Manhattan", back in 1979, I not only viewed, what would be one of Woody Allen's finest films, but I was introduced to the genius of George Gershwin.Until then I was your average kid hooked on rock n'roll.The marvelous tunes that accompanied Allen's tribute to New York City (and some of it's more neurotic inhabitants) truely moved me and made me realize there was something very special about this music.Allen used the music of George Gershwin almost as a secondary character.It gives us a sense of New York City's expanse and beauty (at least in Allen's mind).Who cannot love such beautiful tunes as "But Not For Me", "'S Wonderful", "Embraceble You" and of course the majestic masterpiece, "Rhapsody In Blue". I'll never forget the violin section of this great work of music, at the emotional conclusion of the film.It is just beautiful..."

Manhattan-Soundtrack :


Compiled from Woody Allen's legendary standup routines of the mid 1960s, Standup Comic is an absolute necessity for any acolyte of the man's solid work from his Casino Royale and New Yorker phase.
"Here's a good example of oral contraception. I asked a girl to go to bed with me, and she said 'No.'"
Between a youthful stint as a TV gag man and his groundbreaking films of the 1970s, Allen tried his hand at standup. He was, predictably, a success. Taken from nightclub dates in 1964, '65, and '68, Standup Comic shows how stylistically similar he was to contemporaries like Bill Cosby but also how his absurd flights of imagination made him utterly unique.
"I took a puff of the wrong cigarette at a fraternity dance once. The cops had to come and get me. I broke two teeth trying to give a hickey to the Statue of Liberty."
Now that he's a junior-varsity Ingmar Bergman, it's easy to forget that Allen's first public face was that of a world-class zhlub--a rumpled redhead who shared stories of analysis, sexual frustration, and failure. The long-form tales featured on Standup Comic (including Allen's famous bit featuring a moose) provide plenty of laughs as well as an early glimpse at this protean comic genius.

Standup Comic :


If you think New Orleans jazz is dated, peppy and thin, and that Woody Allen is nothing more than an eccentric celebrity filmmaker, try this CD. Not only is the music fine and intelligent, but Woody shows us a side of him that his films don't capture. There's a sadness in the best pieces that goes beyond wistfulness, a beauty in unexpected places. Woody is serious about the music, but not preachy. The band and he make a lively, compelling, and thoughtful statement about music being one of the best aspects of existence.


Woody Allen's love of classic jazz shows when the most popular songs from his movies are gathered onto one disc. From the opening track, "As Time Goes By," it becomes obvious how important Allen's music really is to his films. Although Play It Again, Sam is an obvious tribute to Casablanca, Allen's use of "As Time Goes By" is effective and quite memorable for different reasons than in the classic original. And what would the opening credits to Radio Days be without Harry James' brilliant take on "Flight of the Bumblebee"? That song sets the pace for the movie better than any other song could have and, though it is quite famous for other reasons, Allen made it his own when it was heard in the film's context. This set of music proves that Allen has the eerie ability to take a popular standard and set it so well to one of his films that the listener can pinpoint the exact scene in which the song was used. That is no easy task, especially with the caliber of the songs found here, so as a collection this is not only filled with wonderful jazz, but also serves as a good reminder of Allen's best work.


The first classical music I remember hearing was on movie soundtracks--the animated cartoons of my childhood in which the characters would chase, trick, and bash each other to the tunes of Liszt's Hungarian rhapsodies and overtures by Rossini and Suppe. This music was used not because it was great, but because it was full of action and out of copyright--a lot cheaper (and probably better) than hiring a living composer. Woody Allen may have a nobler motivation in his decision to use classics on his soundtracks, and his selection of music, from Bach to Prokofiev, is more sophisticated. This superbly miscellaneous collection will be full of happy discoveries for many listeners. It may also help you to identify tunes that you hear in a movie and can't get out of your mind.


Barcelona has long been considered one of the most romantic cities in the world - a place where the human heart has been known to explore new and uncharted territory, leaving any preconceptions about passion and romance forever changed. The city's timeless mystique makes it the perfect setting for director Woody Allen's newest film, Vicky Cristina Barcelona, a breezy romantic comedy starring Javier Bardem, Penélope Cruz and Scarlett Johansson. The film's eclectic mix of music reflects the storyline's passionate yet lighthearted tone. The bouncy, Spanish-sung title song, "Barcelona," was written and recorded by Giulia y los Tellarini, a little-known indie band from Barcelona. As might be expected from a collection of Spanish music, instrumental guitar pieces make up the lion's share of the soundtrack.

Vicky Cristina Barcelona-Soundtrack :


Two young American women, Vicky (Rebecca Hall) and Cristina (Scarlett Johansson) come to Barcelona for a summer holiday. Vicky (Rebecca Hall) is sensible and engaged to be married; Cristina (Scarlett Johansson) is emotionally and sexually adventurous. In Barcelona, they're drawn into a series of unconventional romantic entanglements with Juan Antonio (Javier Bardem), a charismatic painter, who is still involved with his tempestuous ex-wife Maria Elena (Penélope Cruz). Set against the luscious Mediterranean sensuality of Barcelona, 'Vicky Cristina Barcelona' is Woody Allen's funny and open-minded celebration of love in all its configurations.