aarosedi A brilliant mockumentary from Mr. Allen, it is the zenith of his satirical comedic career. It is the sort of off-beat filmmaking that he should perhaps consider exploring again these days even if he's not able to replicate the success of this one. The world still thirsts for those. This film is one of the more successful Allen-Farrow collabs that consists of 12-and-a-third films, and in the subcategory of Mr. Allen's filmography where the two actually had screen time together, seven-and-a-third in my count, this tops the bunch in its tenderness and poignancy. Hannah and Her Sisters and Crimes and Misdemeanors only comes as a close second and third in that distinction. It is worth checking out other works having a darker take on the themes addressed in this film regarding psychiatry, etc., the profound dystopic sci-fi films La Jetee by Chris Marker and its cinematic progeny, Twelve Monkeys by Terry Gilliam.Exceptional cinematography from Mr. Gordon Willis, inserting those faux-newsreel footage with the real ones are just cunning and way ahead of its time. The soundtrack with those uproarious songs such as "Leonard the Lizard," "Doin' the Chameleon," "Chameleon Days" by Dick Hyman blends in as well and passes of a genuine thing of having made in pre WW-Two.This film is a convergence of Mr. Allen's brilliance of different skills sets that showcases his mastery of the cinematic medium: directing, acting (the most iconic Woody Allen on display here), and writing.Only criticism that can be thrown in this film is that it would have been better if it ended at the halfway mark, the point where Zelig mutters that pancakes quote under a hypnotic trance. That definite quote already hit the bull's-eye. The pay-off ended already there, sad to say.My rating: A-flat.

oOoBarracuda Woody Allen's 1983 film, Zelig was an interesting concept for a film. In the style of a mockumentary, Woody Allen starred as a man who was a literal human chameleon, appearing in the background newsreel footage through many different periods of history as he assumed the role of the context he was in. Zelig was able to change anything about himself, including his ethnicity with almost no effort. Eventually, under the care of a world-renowned psychologist, it was discovered that Zelig suffered from an insatiable need for ultimate conformity with the goal of being universally liked. The rest of the mockumentary delved into the psychological and legal struggles of a man who could change so much about himself so effortlessly. Perhaps, Zelig suffered from my not being in the right frame of mind to take it in, or perhaps it was just so different from what I expected at that moment, or perhaps it is simply a film that begs a second viewing but I didn't love it as much as I loved many other films I've been watching throughout this Woody Allen project. Zelig uses the mockumentary style in the best way that I have ever seen, those types of films don't impact me, personally, but I can recognize that Zelig used this format well. Zelig is complete with a traditionally perfect Woody Allen opening, and plenty of trademarks of the director to make any Woody Allen fan happy. Zelig grapples with death and identity, in perhaps the deepest way I've seen yet. The film is also another in his oeuvre that uses gorgeous black and white photography. What was missed, however, was the incredible dialogue I've come to expect from Woody Allen films, which was a bit of a letdown.

grantss The story of Leonard Zelig, a man who could (and would) assume the physical characteristics and mannerisms of anyone he cam into contact with. When doctors discover him, they try to figure our he has this ability and what causes him to change. Eventually he is treated by Doctor Eudora Fletcher, a psychiatrist, and she works out how to treat him. Meanwhile, dubbed "the human chameleon", he becomes a celebrity. Celebrity has its downsides, however...Very original film from master writer-director Woody Allen. The 1980s were a very creative period for Allen, including venturing into more dramatic areas. Long gone were the absurdist (yet very funny) comedies of the early 70s. Zelig is a bit of a throwback to that period, with a wonderfully ridiculous central plot and some hilarious jokes.While over-the-top, the plot is actually very plausible doesn't fall apart, remaining solid to the end. Being presented as a documentary helps the plausibility. Reveling in its absurdity the movie has a great momentum and energy. The documentary format presents Allen with scores of opportunities to demonstrate his editing and cinematographic skills, editing Zelig (ie himself) into newsreels with famous people as well as constructing very plausible "footage" of Zelig at famous events.One of Woody Allen's greatest movies, and that says a lot.

kjphyland This could well be a review of 90% of Woody Allen's oeuvre. The film is a smorgasbord of fabulousness - exquisite concepts, very clever lines and very funny ones. No film maker has ever had such a grasp of irony, sarcasm and the ridiculous, and still imbue it with wit and (occasionally) subtlety. But it is the relentless self-deprecation and extant feelings of worthlessness that eventually become wearing after you have watched as many Allen films as I have. This is the film that most impresses you with his confusion over identity however. I could go on about self-analysis for pages but it's unnecessary...just watch any given Woody Allen film. He mellows it out with a rather forlorn sense of romance that becomes endearing rather than pathetic...a skill that is essential to engage with his films. This is a fine film. Oh yeah...and very funny...if you get the references.