Zelig (1983)

 Zelig (1983)

The more I thought about Zelig, the more I think about Woody Allen’s feature in a favorable light. I thought the film was merely okay upon initial watch, but it ends up growing on me. Allen has a large filmography, and Annie Hall is generally seen as his best. Over time, people have now considered Zelig to be his best. I may have that same feeling…yet. Still, this is Allen’s most proficient film in terms of visual effects and editing. Filmed as a mockumentary, Allen uses old technology and stock footage to great comedic effect. With just the perfect amount of editing, he was able to insert himself into footage with Charlie Chaplin and Al Capone to name a few. You can see where later films such as Forrest Gump was influenced by. Allen has always been a king when it came to dialogue and this film is no exception. There are several lines that had me wheezing with laughter. Sadly, not every part of the film is funny but there is enough to please fans. The movie is a brisk 79 minutes, but I felt some weariness around the edges which could have been an issue if the film was any longer.

We all know how adept Allen is at creating stories and strong dialogue. Now that I am thinking about it, this may be his most self-depreciating film yet. There is an ego to Allen’s character, very reminiscent to Allen’s real-life persona. Setting the story and tone aside, I am very interested in the special effects and Gordon Willis’s cinematography. Willis received plenty of high praise for the first two The Godfather films, yet this was the film that the Academy recognized him for…and rightfully so. Allen and Willis found antique film cameras and lenses to use and went as far as damaging the negatives to produce authenticity. Allen also took old newsreel footage and inserted himself into it using bluescreen technology. The production team took so long with the special effects, that Allen was able to direct and produce two films while this film’s special effects were being perfected. Even if the actual story is not to your taste, you might like the film’s technical prowess.

Filmed as a documentary but to comedic effect (known as a mockumentary), the story focuses on a man named Leonard Zelig (Woody Allen) during his time of infamy in the 1920’s and 30’s. He first came to the attention of the world when he was seen in the background of historical events. Somehow, he was able to change his image through each moment in time, even including his ethnicity. He eventually fell under the care of famed psychiatrist Dr. Eudora Fletcher (Mia Farrow) and was given the nickname “Chameleon Man” due to his ability to effortlessly change. He was diagnosed with a disorder to universally liked (don’t we all!). In addition to the issues surrounding Zelig’s ability, this “documentary” dives deep into the personal relationship between Zelig and Fletcher.

As for the performances go, they were decent. I do not think this type of film is pushed forward on acting, but I still managed to believe the characters in their only zany worlds. Allen uses his strong dialogue to great effect. His delivery on some of the famous lines are smooth and hilarious. Farrow is adequate if not a bit forgettable.

Zelig is a high-concept movie that pushed some boundaries. I also thought it was hilarious that Allen used experts in their fields to comedic effect. Well done, sir! Not everything works for me, but enough Allen dry wit is pushed across to make the film a good watch. More important than the story itself is how Allen used special effects to enhance his movie. Now that is a great reason to watch! Mercifully, the film is short and straight-to-the-point.

My Grade: B