The script isn't as funny or the story as engaging as some of Allen's other work, but he pushes the limits of black and white photography in away that's absolutely fascinating.
Something a little different from Woody, but I liked it for more than just the sake of variety. But that was one of his strong points, not only in this movie, but throughout the mid-80s.
Even after seeing Radio Days, I never thought Mia Farrow had this kind of range. I'm still not sure she does, but she acted circles around that parrot in the dress.
So many of the bit roles are so funny (stalker in the bed, brother-in-law on bike) but the photography is too showy. The two elements clashed too much.
Bergman material meets New Wave flair, with Woodyisms sprinkled in: a mix that's far from perfect, but not as I would have predicted if you'd told me this was what I was getting into beforehand.
Any time Allen is combined with a masterful cameraman (Willis, Di Palma, or Nykvist) the result is worth watching, even if the movie, like this one, is just something he did for fun one summer.
Lots of great little jokes, and the blind gimmick is funny for awhile (mostly because of the translator guy), but old Woody just isn't as funny as young Woody.
I didn't feel like Johansson or Jackman's talents were utilized well. The plot was sort of funny and of course Woody was funny, but it wasn't anything I hadn't seen before from him.