A Midsummer Night S Sex Comedy
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A Midsummer Night S Sex Comedy
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4.4 out of 5 stars
192 ratings
Aspect Ratio
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1.85:1 Is Discontinued By Manufacturer
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No MPAA rating
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PG (Parental Guidance Suggested) Product Dimensions
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7.5 x 5.5 x 0.53 inches; 4 Ounces Director
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Woody Allen Media Format
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Multiple Formats, Anamorphic, Closed-captioned, Color, Dolby, NTSC, Subtitled, Widescreen Run time
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1 hour and 28 minutes Release date
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November 6, 2001 Actors
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Mia Farrow, Jose Ferrer, Julie Hagerty, Tony Roberts, Mary Steenburgen Subtitles:
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English, Spanish, French Language
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English (Dolby Digital 2.0 Mono), Unqualified (DTS ES 6.1) Studio
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MGM (Video & DVD) ASIN
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B00005O06K Number of discs
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1
4.4 out of 5 stars
192 ratings
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`A Midsummer Night's Sex Comedy' and `Shadows and Fog' are two of Woody Allen's `second tier movies, less highly regarded than `Annie Hall', `Manhattan', and `Hannah and Her Sisters', but nonetheless a great pleasure to watch over and over again for anyone who has a taste for Allen's movies. The fact that Allen's movies, even these parodies of classic works and genres are primarily about characters and their personalities, passions, and foibles rather than about story, so you don't loose the primary reason for watching the movie as you do when you watch `The Maltese Falcon' or `Die Hard' or even `The Terminator' for the first time. I have seen both of these movies several times and I constantly find new pleasures in the dialogue. Aside from their both being genre parodies, both movies share several other aspects, not the least of which is Allen's usual well oiled crew plus great `visiting' Director of Photography. I am constantly amazed at the consistently high level of quality in the filming of Allen's movies, since he has a great reputation for bringing his works in within schedule and under budget. Part of his economy is probably due to the fact that while Allen as director is not in the same league as Martin Scorsese or even Clint Eastwood, lots of actors drop what they are doing to be able to appear in the next Woody Allen film. And, they probably appear for a lot less money than they would for Marty or Clint. I also sense in some scenes that Allen lets little flubs go to the final print which Scorsese, for example, would reshoot until it was perfect. The casts on these two films are fairly evenly balanced between Allen's ever evolving stock company with Mia Farrow appearing in both films along with Allen regulars Tony Roberts in `Midsummer's Night' and `David Ogden Stiers' and Wallace Shawn appearing in `Shadows and Fog'. Since the latter movie has a much larger cast, it is liberally peppered with currently famous or near famous actors giving cameo appearances such as Kathy Bates, John Cusack, Jodie Foster, Fred Gwynne, Julie Kavner, Madonna, Kate Nelligan, Donald Pleasance, Lily Tomlin, Kenneth Mars, William H. Macy, and John C. Reilly. John Malkovich contributes an excellent performance as the second most important male character in the movie. The 1982 `A Midsummer Night's Sex Comedy' is certainly the lighter of the two as a parody on the theme of `A Midsummer Night's Dream'. Allan borrows Shakespeare's romantic mix-ups plot element on top of the idyllic forest venue to bring together two guest couples to the country home of Allen and Steenburgen. Jose Ferrer plays a polymath professor brother to Steenburgen's character. Ferrer is to marry Mia Farrow, many years his junior, on that Sunday at the country house. Tony Roberts plays a randy bachelor doctor brother to Allan's character. Hagerty is Roberts' office nurse of five weeks who comes along fully expecting a weekend of erotic experiences with her boss. It turns out that Allen knows Farrow and the romantic mix-ups take off from there. The 1992 `Shadows and Fog' is an intentionally heavy parody of a mix of German impressionistic movies and Franz Kafka story lines with what seems like a cast of hundreds. It all takes place in what seems like pre-World War I Vienna, Berlin, or Prague or some other central European Germanic city. At the outset, it seems like a remake of the German film `M' starring the young Peter Lorre as a murderer. Unlike the `...Sex Comedy', the plot is much more involved. The first line involves Allen as a Kafkaesque cipher awakened in the middle of the night by a crowd of vigilantes with a plan to find a killer roaming the fog laden nighttime streets. The driving force of the plot involving Allen and the mob is that the vigilantes never tell Allen what his role is to be in this plan. They assume he knows his part and are irritated to the point of violence when Allen questions what it is he is supposed to be doing. The second major plot involves a dispute between circus performers Farrow (sword swallower) and Malkovich (clown) which breaks open when Malkovich is caught in a rendezvous with trapeze artist Madonna, the wife of the sleeping strongman. Allen and Farrow meet about half way through the film that brings Allen back to the circus after Farrow does a stint in a whorehouse and Allen comes close to being accused of being the murderer. Both movies are primarily comedies, yet the humor in the first movie is based more firmly in the situation. The humor in the second movie seems to be more a relief from the perils faced by the two main characters. Although, the image of the positive side of having sex with a sword swallower is a very nice gag created by the characters' situations. On the other side of the coin, `Shadows and Fog' seems to have deeper observations about the human condition. Since I seem to be noticing some of these lines for the first time, after several viewings over the last 14 years, I feel even stronger about the durability of Allen's films. Allen has always been a master of making very good use of familiar music in his movies. All the `incidental' music in `Midsummer Night' is from the works of Mendelsohn, including the music he composed for Shakespeare'' play to be performed in German. The music in `Shadows and Fog' is almost all taken from instrumental performances of works by Kurt Weill, primarily from `The Threepenny Opera' and the song `Whiskey Bar'. Since I am a long time fan of Allen's movies, the only thing which disappoints me about these and all other of his DVDs is the fact that there is no director's commentary. This makes the difference between four and five stars for the DVD. Recommended to any fans of Allen or comedy in general.
If memory serves this film was generally dismissed by the critics in its day. I think one can best appreciate this work when you consider Woody Allen's canon in its entirety. Allen's previous effort was "Stardust Memories" a film that was generally considered cynical serving the audience the proverbial arsenic cookie. This film on the hand is imbued with a lightness of spirit and optimism which is somewhat odd considering Allen's proclaimed agnosticism. Beautifully lensed by the great Gordon Willis the film brims with terrific performances and good vibes. One can also not overlook Allen's choice of Felix Mendelssohn for the soundtrack. One of the things I always look forward to in his films is his impeccable choice of music. Somebody should compile a collection of the best music from Allen's films. "A Midsummer Night's Sex Comedy" gets my unequivocal recommendation and seeing Allen's other works is not a prerequisite.
Great casting and a low-key, but funny script. This film definitely doesn't hit you over the head with the jokes (such as in "Take the Money and Run.") Instead Allen lays out his characters' chicanery slow and easy, which is fitting since the story takes place in the early 20th century and is set in a countryside estate. Mary Steenburgen is amusing and pitied as a woman no longer sexually attracted to her inventor husband (Allen); but it is Jose Ferrer (Dr. Leopold) who plays the pompous, but lecherous Lothario who just a day before his wedding, seeks out the physical companionship of Adrian (Steenburgen.) Meanwhile, a flustered Andrew (Allen) tries to rekindled a botched relationship with Ariel (Farrow), who is Leopold's bride-to-be. However, literally standing in his way is Andrew's friend, Maxwell (Tony Roberts.) Of all Allen's films, I rank this at the top of the heap, even above (gulp!)..."Annie Hall."
Woody Allen is at his best in the charming comedy about a neurotic (of course)Victorian era New York (of course)stock broker/crackpot inventor, who owns a summer farm house in a magical and mystical area of upstate New York. He invites several friends to join him and his sexually cold wife for one of the final weekends of the summer. Invited are a philandering doctor, a sexually knowledgable nurse, as well as an insufferably aloof academic with his fiance on the day before their marriage. The situation builds as Woody, who is having intimacy issues with his wife, realizes that the academic's fiance is a former love interest of Woody's. Liaisons abound and trists are everywhere. Woody Allen uses his "off screen" dialogue techniques better in this film than in any of his others and his sense of whimsey makes this movie a sheer delight.
I offer a contrarian opinion about this film. I did not like it. It was a waste of my time. There, I said it. Reason? - It just did not make me laugh more than one or two times, and when a film has "Comedy" in the title, I expect to find it funny, witty, and perhaps laugh out loud occasionally. I did not have one (loud) LOL moment. While the casting is terrific, and the acting is equally wonderful, I believe the script (by Allen) is just not that funny. Allen is certainly a brilliant writer, director, and actor, but this film flops for me. I believe Allen's intent is to poke fun about our obsession with sex, who is doing it, why we are doing it, why we aren't doing it, etc. While I get the point of it all, I thought the process should be funny, and unfortunately, in this film there is far too much running around trying to have a tryst, rather than have witty funny dialogue. Allen's usual self-depreciating humor, his witty dialogue, and his cynicism are all missing here. My (contrarian) advice is to skip this film. I know many will disagree with me, but check out Rotten Tomatoes and read what others have to say about this film before deciding to purchase it. kone
5.0 out of 5 stars
it looks and plays like new. This W
Although a used issue, it looks and plays like new. This W.A. film was made in a bit if a hurry as he was involved in making Zelig which was running into problems. He appears to have written and filmed "sex Comedy" in between sorting the Zelig problems. None of this shows in the finished film. It a wonderful, gently, intelligent comedy with all the six actors working well together in this superb ensemble piece. July Hagerty and Mary Sheenbergan, not really part of the Woody Allen "call" roster, really getting to the flavour of the Allen zone, are so good. The print is good too, no problems with questionable fading colour (as sometimes strikes the older films) and excellent crisp sound. This is certainly one of my favourite Woody Allen films. It's not easy to get tired of. Mia Farrow seemed to get some criticism for her performance, but I could never understand this. Watch and enjoy again and again!!!!!
5.0 out of 5 stars
Enchanting Complex Love Story
One for the fans! Still terrific. A play on Shakespeare's 'Midsummer Night's Dream' and 'A Comedy Of Errors', this film captures all the quirkiness of Woody Allen (intelligent comedy) and interweaves it with a complex unfolding plot of six individuals (friends & associates) who meet and stay in an enchanted abode with equally enchanting lakes and woods. They come as 'couples' but find love across those couples. Soon nobody knows who wants who - and indeed for what! It all ends well, nearly! Great quintessential Woody Allen...
4.0 out of 5 stars
Over-clever ?
Nice film which I've had on VHS for 20 plus years Not what you'd expect from the title Still in Allen's period of obsessing about NYC neurotics,but a satire ( albeit with little bite ) rather than a rom-com Obviously a homage to Bergman it does assume some literacy of its viewers,to the extent that in parts Allen is more interested in demonstrating his cleverness and wit than entertaining the audience or maintaining a cogent storyline - at times it feels as if Stephen Fry had written the screenplay Some interesting additions to his usual ensemble
Not one of his best. Watch "Annie Hall", "Manhattan", "Husbands and Wives", "Crimes and Misdemeanors", "Deconstructing Harry" etc.
5.0 out of 5 stars
Love is in the Air
The most gentle of Allen‘s films, so gentle in fact that you feel betrayed by the 1 hour 24min duration, all over so quickly! And as clearly stated on the packet (Sorry couldn’t resist that) teeming with all the visual beauty of an impressionist painting!! a film that will happily withstand repeat viewings, unlike some of the later offerings.
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Teeming with all "the beauty of an impressionist painting" (The New York Times), A Midsummer Night's Sex Comedy is writer/director Woody Allen's "lightest and most sensual film" (L.A. Weekly) to date. Starring Allen, Mia Farrow (directed by Allen for the first time), Jose Ferrer, Julie Hagerty, Tony Roberts and Mary Steenburgen, A Midsummer Night's Sex Comedy is a dazzling, uproarious masterpiece from "America's best comic filmmaker" (The Film Journal)! Love is in the air and magic is afoot when turn-of-the-century inventor Andrew and his wife Adrian host a country wedding for the pompous philosopher Dr. Leopold and his young fiancÃ(c)e Ariel. But when Andrew's best friend, the randy Dr. Maxwell Jordan, and his lusty nurse Dulcy turn up for the festivities, the stage is soon set for thwarted seductions, mismatched mates and magical mayhem, as Maxwell falls for Ariel, Ariel seduces Andrew, Leopold beds Dulcyand the bride and groom say "I do"to everyone except each other!
In A Midsummer Night's Sex Comedy , Woody Allen mixes Shakespeare, Ingmar Bergman, and the music and art of the turn of the century. Allen plays Andrew, an inventor, whose listless marriage to Adrian (Mary Steenburgen) has lost all erotic zip. He welcomes two pairs of friends to his country home: college professor Leopold (José Ferrer) and his fiancée Ariel (Mia Farrow), and dentist Maxwell (Tony Roberts) and his suffragette nurse Dulcy (Julie Hagerty). Before long, everyone's lusting after everyone else's partner, and the plot twists and turns to a happy and magical conclusion. It's a light and airy film, perhaps a deliberate break from Allen's previous production, the caustic Stardust Memories ; but the tone may also be due to his new relationship with Farrow, who went on to star in Allen's films for the next 10 years. --Bret Fetzer
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