Sure, hes knocking on a bit, and the perennial pursual of young bits of skirt might have long since progressed from slightly inappropriate to just plain creepy, but Woody Allen has still got it.
That was the one resounding thought in my mind after watching the belated DVD release of The Curse of the Jade Scorpion, Allens fun, silly and swiftly-paced tribute to both the crime and comedy classics of the 1940s. Its set at the turn of that decade, where everyones favourite goggle-eyed New York midget plays self-centred insurance investigator CW Briggs. Hes on a work night out when a Paul McKenna-style stage hypnotist (David Ogden Stiers) pulls him up to the front of the room, along with new boss and sworn enemy Betty Ann (Helen Hunt). The public humiliation that follows for the pair all seems like good fun, of course that is until Mr Hypnotist neglects to snap them out of their trance, instead using his power over them to have them run around town nabbing expensive jewellery, without ever remembering anything about it the next morning.
Before long, CW has been hired by his own company to snoop into a string of thefts which he himself is the unwitting culprit of. And, when it becomes obvious that all the clues point squarely in his own direction, he becomes a man with one major problem on his hands.
Of course, the whole thing is completely ridiculous, but it also makes for some great, sparky entertainment. Its not so much a spoof of old school madcap comedies as an attempt to recreate what people loved about them: the zany set-pieces, the farcical plot-line, the bouncing one-liners. And not only does Allen successfully capture the feel of such films, hes also got the look spot on, from the clothes to the lighting to his direction itself.
While Im the first to admit that I havent always been Allens biggest fan (some of his productions are to put it kindly – an acquired taste), this is the sort of film that can be appreciated by both his die-hard supporters and those who normally treat his work with that little bit more trepidation. Certainly it bears all the Allen hallmarks, from the Manhattan-centric characters to the somewhat deliberate dialogue, but its also one of his most accessible movies in quite some time (if not ever).