Sep 28, 2015


'Drawing on several years’ history of first-hand interviews, Shone’s book betrays an equal degree of personal investment in Allen’s work – though it trades in tougher love. There’s an inquisitive rigour to his praise and criticism alike: a substantial appraisal of Allen’s 1977 smash Annie Hall builds tension between the evergreen marvels of the finished film (“its theme of fading love nestled within an intricate remembrance of things past”) and a hypothetical anatomy of the solipsistic calamity it nearly was, before its love story was foregrounded in the editing suite. The vagaries of Allen’s creative process are never glazed over here. Even when the outcome is glorious – and when it isn’t – Shone’s analysis is most piercing. He certainly doesn’t share Solomons’s (nor my) revisionist appreciation of Allen’s “pure”, Ingmar Bergman-fixated dramas: 1978’s critically mauled Interiors, he writes deliciously, boasts “a palate of slate greys, stonewashed blues, and muted beiges, with emotions to match”. This level of discernment and tart dissent is an unexpected treat in what appears a chunky coffee-table adornment, presented in slightly more lacquered fashion than Solomons’s more practically pictorial volume. It’d be easy to lose sight of the text amid the photos, many of which serve to remind casual admirers of Allen’s work of his undervalued gifts as a visual stylist. But Shone’s prose has a beauty of its own, abounding in nonchalantly exquisite turns of phrase: I especially love his description of actress Dianne Wiest’s face as “[seeming] always to photograph in soft focus”. Allen may not read criticism, but the writer in him would surely approve.' — Guy Lodge, The Observer
"Thames &  Hudson are bringing out a beautiful illustrated hardback book that follows the format of previous volumes about Steven Spielberg and Martin Scorsese. In this timely retrospective, Tom Shone reviews Woody Allen's entire career, providing incisive commentary on his films and shedding light on this uniquely self-deprecating filmmaker, with the help of comments contributed by Allen himself. Superbly illustrated with more than 250 key images (including movie stills, archive publicity material and on-set photography), this is a fitting tribute to one of the masters of modern cinema." — the Curzon Cinema 
'Solomons and Tom Shone are in harmonious, erudite agreement on the superior technical and imaginative qualities of many of Allen’s best-loved films — Annie Hall, Manhattan, Broadway Danny Rose, Hannah and Her Sisters, Crimes and Misdemeanors, Mighty Aphrodite, Midnight in Paris and Blue Jasmine — and both experts are equally severe in their appraisals of experimental failures apparently influenced by Allen’s admiration of Bergman and German expressionists. Solomons seems particularly appreciative of Allen’s Jewishness, while Shone, after a long, comparably authoritative career as a London film critic, achieved an extra American critical point of view at New York University, where he teaches film history and criticism. The two authors’ best birthday present to Woody Allen is their joint assessment that he is a genius.' — The Spectator

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