Whatever one thinks about Woody Allen, you'll probably find it in here, except why Americans don't much turn out to see his movies.
Wild Man Blues (1998)
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Reviews Counted:36
Fresh:31
Rotten:5
Average Rating:7.2/10
Synopsis: As though opening a door into a life that the press had been trying to bang down during his tumultuous breakup from Mia Farrow, comedian-filmmaker-clarinetist Woody Allen decided to allow... As though opening a door into a life that the press had been trying to bang down during his tumultuous breakup from Mia Farrow, comedian-filmmaker-clarinetist Woody Allen decided to allow documentary filmmmaker Barbara Kopple to follow him with a camera on a 1996 tour of Europe with his New Orleans jazz band. He's also joined by his sister Letty and, of course, his new wife, Soon-Yi Previn, who seems, on the evidence of the film, to be as serene as her husband is anxious. Indeed, the autobiographical nature of Allen's films becomes clear after a couple of hours of watching a man who seems to believe that the inanimate objects of the world are waging war on him: An omelet seems "vulcanized," he fears that his hotel room sheets will be breaded. The animate world is no improvement. In Venice, Allen fears that a gondolier could easily cut his throat, and the crowds and paparazzi that pursure him inspire a revulsion that's ironic in so public a figure. Yet the amused, pragmatic Soon-Yi takes it all in stride, calming her husband's fears, albeit occasionally with a hint of condescension. The director is clearly happiest in the film when playing the clarinet, and, as anyone who has seen him at Michael's Pub can vouch, his dedication to the music is wholehearted. In an amusing and revealing visit to his parents' home upon his return, the underwhelmed response of his parents to Allen's achievements may suggest the source of his fabled anxiety. WILD MAN BLUES is a must for Allen fans. [More]
Starring: Woody Allen
Starring: Woody Allen
Director: Barbara Kopple
Director: Barbara Kopple
Producer: Jean Doumanian
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Reviews for Wild Man Blues
Thoroughly fascinating and is must-see viewing for any Woody Allen fan. Barbara Kopple, on the other hand, should get back to pointing her lens at more significant social phenomena.
Wild Man Blues has a tendency to become repetitious, especially during the final forty minutes.
Craftsmanship and wit are as present here as in [director Barbara Kopple's] more socially-minded, dramatic work.
[Kopple] might seem an unlikely choice for this material, but no doubt her track record gained Allen's trust.
[Kopple's] made a greatly enjoyable film, but you can't help wondering if she's fallen under her subject's spell.
If Woody Allen is unable to experience pleasure, he can rest assured that he continues to give it to his devoted followers.
The high-profile nightmare of his debacle with Mia Farrow seems to have settled into a Woody Allen movie of the more genial kind.
There is a quiet agenda here of keeping the personal relationship visible, natural, and low keyed.
In her unexpectedly delightful documentary about Woody Allen as jazz musician, Barbara Kopple demonstrates cinema verite at its most seductive.
The subject is Woody Allen, but anyone interested in his career as a writer, stand-up comedian, actor or filmmaker will learn little from Barbara Kopple's new documentary.
Not quite the type of political punchiness one would expect from Kopple, but it does answer a lot of questions about Allen who obviously had a strong hand in the film's compilation.
No less than Madonna's Truth or Dare, Wild Man Blues proves the degree to which stars make a fiction of objectivity.
If you'd like to see what 90 minutes of Woody's neurotic home life is like, punctuated by some clarinet blowing, this is the movie for you.
One of the main strengths of the film is, though, is in its moments that it happens to capture, and those other big things that it shows us.
What may surprise Woody's fans is that he is rarely funny in person and sometimes surprisingly inarticulate.
Kopple's discreet, quietly revelatory style creates a fine balance between public and private personae that veers more pointedly toward the personal in an incongruous but fascinating coda.
It provides some generous insights into his psychic background when his unsupportive parents greet him back in New York at the end.
| Tomatometer Percentage | Movie |
|---|---|
| 44% 44% | Night at the Museum: B… |
| 32% 32% | Terminator Salvation |
| 36% 36% | Angels & Demons |
| 95% 95% | Star Trek |
| 25% 25% | Four Christmases |
| Tomatometer Percentage | Movie |
|---|---|
| 88% 88% | Inglourious Basterds |
| 78% 78% | The Hangover |
| 49% 49% | Taking Woodstock |
| 26% 26% | The Goods: Live Hard, Sell Hard |
| 47% 47% | The Girl From Monaco |
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