Happy Birthday to Jew, Woody Allen

This year's December 1st is being overshadowed by Cyber Monday, but something much more significant occurred on this day in 1934. It was Woody Allen's birthday. And to think, in just 15 years, he would be old enough that today he'd be attracted to himself.

A great deal of Woody Allen's works, like Annie Hall and Manhattan, have become canon and are often referenced as some of the greatest features in film history. Over time, the name Woody Allen has become associated with the work of an artistic mind, or in many cases, with Allen's personal life. But one of the things that makes Allen a legend is his amazing comedic ability. Classic Television Showbiz posted an incredible clip of Allen guest hosting The Tonight Show With Johnny Carson. He's funny, charming, and endearingly quirky. This clip inspired me to list Allen's earlier slapstick oriented films, some of which I consider his funniest and most underrated pieces… 

After the jump, I go over each of Woody Allen's early comedy films.

What's Up, Tiger Lily? (1966)

Woody Allen's first film as director sets an interesting tone for his early career. Unrepentingly silly, the film is for the most part simply a Japanese spy thriller overdubbed to become a comedy about the search for the perfect egg salad recipe. Not only did it predate numerous cheaply produced and poorly written overdubbed foreign film parodies, but it invented many of the tropes which would go into the creation of cult-favorite Mystery Science Theater 3000.

My favorite line in the entire film comes when the High Macha of Rashpur, "a non-existent but real-sounding country," points to a map, stating, "This is Shepherd Wong's Home," Phil Moscowitz, the hero of the film responds, "He lives in that piece of paper?"

The film ends with Allen ingeniously explaining to the camera he promised a playmate a role in the film, but since he wasn't able to insert her into the Japanese film footage, he has her dance in the background of his explanation. The playmate in question was actually Mort Sahl's wife.

Take the Money and Run (1969)

Like his previous work, Take the Money and Run plays with format, deftly parodying crime documentaries. The film itself follows the life story of Virgil Starkwell, a bank robber infamous as he is incompetent. Essentailly, the film is an amazing vehicle for some brilliant gags, most notable, the scene where Virgil's poor handwriting confuses the bank teller ("Does this look like 'gub' or 'gun'?"). Later in the film, Virgil attempts to escape a bank robbery incognito by disguising himself as part of a marching band. Unfortunately, Virgil's instrument of choice, the cello, isn't very playable in pedestrian transit.

Many of the ideas used in this film would be perfected in Allen's bittersweet mockumentary, Zelig. Although Zelig is overall a more compelling film, it never matched Take the Money and Run's manic lol-count. By the way, if Woody Allen knew I used the word lol-count to describe one of his films, I'm pretty sure he would inform me I know nothing of his work.

Bananas (1971)

Everything

I ever wanted to know about sex, I learned from the sportscaster narrated sex

scene in this film. Like his other early works, this film is little

more than an excuse for different gags and jokes sewn together by a

clever yet ultimately inconsequential plot. Like some of the

politically based humor of Sleeper, Bananas is a straight parody of

dictatorships, political activism, and American politics. Watching Woody Allen wearing that obviously fake beard is funnier than it has any right to be.

Everything You Always Wanted to Know About Sex But Were Too Afraid to Ask (1972)

This movie has a giant boob in it. Do I really have to say anything else about it?

Split up into different vignettes, this film is admittedly uneven, especially considering that it's sandwiched chronologically between Bananas and Sleeper, two of Allen's funniest films. But nothing beats the Woody Allen dressed as a sperm.

Sleeper (1973)

This was actually my first Woody Allen film. Imagine my surprise when I expected more Marx brothers style antics when popping in Manhattan. Allen's progression from his last film is clear. The jokes are just as fresh and crisp, but the plot has improved greatly. It's tightly written, but it leaves the right amount of space for comedic detours. The film follows Miles Monroe, a health food store owner who through suspended animation, finds himself entrenched in a rebel political assassination 200 years into the future.

Besides revealing that eventually the Pope's wife would have twins and deep fat and hot fudge would be considered health foods, the film hearkened back to an earlier comedy style developed by the Marx brothers, and surprisingly for a modern film, it actually matches the level of absurd laughter.

Love and Death (1975)

This might be Allen's most underrated film. After Love and Death, Allen would go on to direct Annie Hall, a film whose influence is undeniable. Love and Death also marks a giant turning point in Allen's career. It is the last film in his early slapstick period. From here on, he would become Woody Allen, the intellectual filmmaker rather than the intellectual comedian. Filled with amazing gags, like the duel wherein Allen's character, Boris Grushenko, manages to shoot himself multiple times, this might also be Allen's brainiest work yet. Incorporating references to European literature, foreign film, and classic American comedy, the reason this film isn't as popular as Sleeper or Annie Hall is perfectly clear. It's also unfortunate. It's rare that a gag-laden work can attain actual poignancy, but Love and Death, with it's musings on philosophy, and it's bittersweet ending wherein Boris skips with Death through wheat fields, does this in spades.

Happy Birthday, Woody Allen. Thanks for the great films!