Directed by Woody Allen.
Starring Woody Allen and Mia Farrow.
In a Nutshell: A psychiatrist tries to understand the nature of a human chameleon.
Not one of Woody Allen’s better known features, but worthy of mention. Zelig is a near perfection of the mockumentary format, though perhaps not the best overall example of the genre. The plot involves a man named Leonard Zelig (Allen) who can take on the characteristics of any person he is in the presence of (and not just physically). He takes the nation by storm during the 20’s and 30’s prompting a psychiatrist (Mia Farrow) to cure him of this abnormality. The film’s strength lies less in the comic premise itself (which is a bit one-note, albeit a slight commentary on identity struggle) but the technical detailing. Thanks to old newsreel footage, blue screen technology and a variety of cinematography techniques, Leonard Zelig is seamlessly integrated into early America. Even when the premise begins to wear out its welcome, Allen’s insertion of himself into bygone American is incredible. Taking full advantage of the flaws and limitations accompanying early media (as well as his recreation of American doctor testimonials) the film works mostly through the presentation itself.
Not one of Woody Allen’s better known features, but worthy of mention. Zelig is a near perfection of the mockumentary format, though perhaps not the best overall example of the genre. The plot involves a man named Leonard Zelig (Allen) who can take on the characteristics of any person he is in the presence of (and not just physically). He takes the nation by storm during the 20’s and 30’s prompting a psychiatrist (Mia Farrow) to cure him of this abnormality. The film’s strength lies less in the comic premise itself (which is a bit one-note, albeit a slight commentary on identity struggle) but the technical detailing. Thanks to old newsreel footage, blue screen technology and a variety of cinematography techniques, Leonard Zelig is seamlessly integrated into early America. Even when the premise begins to wear out its welcome, Allen’s insertion of himself into bygone American is incredible. Taking full advantage of the flaws and limitations accompanying early media (as well as his recreation of American doctor testimonials) the film works mostly through the presentation itself.
But given that Allen took such care to make Zelig look as authentic as possible, it’s too bad he chose himself to star. I would doubt that an unknown taking on black, Chinese, obese, etc. characteristics would be as funny as seeing them on the Allen. And since Allen’s performance is mostly in small grabs of archival footage (much of it dialogue-free) and photographs, so it’s not like an actor of great depth or gravitas was needed. But that does show the limit to the Zelig character. Allen doesn’t give the character much more personality beyond the concept, and the role is very easy for him to play. In keeping with the documentary feel, the movie could have had a greater life with an unknown (or at least someone not as recognizable) that could give a more chameleon-esque performance, doing away with the more overt dialogue from the doc’s commentators. I did not dislike Zelig, but by Allen playing to his limitations, too much of Zelig is explanation over performance. The format is brilliantly deadpan and well perfected the mockumentary format before Christopher Guest and makes it a quickly enjoyable movie. But it is just too bad Zelig couldn’t have offered more Zelig.
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