The Complete Prose of Woody Allen

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Wings Books, 1991 - American wit and humor - 473 pages
61 Reviews
For the first time in one hardcover edition, here are three best-selling books by one of 20th century's greatest movie directors. Woody Allen is an American cultural icon -- funny, philosophical, and controversial in his work and personal life. In this side-splitting collection, containing Without Feathers, Getting Even, and Side Effects. the Academy Award-winning filmmaker explores subjects ranging from sleeplessness to the UFO menace. No Woolly fan will want to be without his hilarious ruminations on the moral and ethical predicaments of modern life.

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Review: The Complete Prose

User Review  - Aravind Vivekanandan - Goodreads

It might sound impossible for a writer to insert a joke in every sentence that he writes and not feel redundant. Well that's not the case with Allen. He goes after his favorite targets- Freud , Sartre ... Read full review

Review: The Complete Prose

User Review  - Vishesh Unni - Goodreads

Irreverent, weirdly insightful and completely nuts- that's Woody Allen. Read full review

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About the author (1991)

Allen's favorite personality-the bemused neurotic, the perpetual worrywart, the born loser-dominates his plays, his movies, and his essays. A native New Yorker, Allen attended local schools and despised them, turning early to essay writing as a way to cope with his Since his apprenticeship, writing gags for comedians such as Sid Caesar and Garry Moore, the image he projects-of a "nebbish from Brooklyn"-has developed into a personal metaphor of life as a concentration camp from which no one escapes alive. Allen wants to be funny, but isn't afraid to be serious either-even at the same time. His film Annie Hall, co-written with Marshall Brickman and winner of four Academy Awards, was a subtle, dramatic development of the contemporary fears and insecurities of American life. In her review of Love and Death, Judith Christ wrote that Allen was more interested in the character rather than the cartoon, the situation rather than the set-up, and the underlying madness rather than the surface craziness. Later Allen films, such as Crimes and Misdemeanors or Husbands and Wives, take on a far more somber and philosophic tone, which has delighted some critics and appalled others. In Allen's essays and fiction reprinted from the New Yorker, Getting Even New Yorker, (1971), Without Feathers (1975), and Side Effects (1980), the situations and characters don't just speak to us, they are us.

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