Radio Days
Like a Jewish-American variation on Amarcord, Woody Allen’s exquisite work of semi-autobiography is an episodic account of the writer-director’s memories of growing up in the radio-centric ‘30s and ‘40s, shot by Di Palma with an evocative, burnished nostalgia.
Like a Jewish-American, and wholly distinct, variation on Fellini’s Amarcord, Woody Allen’s exquisite work of semi-autobiography is an episodic account of the writer-director’s memories of growing up in a radio-centric culture. Split between the comfortingly drab home life of a working-class family in Rockaway, Queens, and the world of the more glamorous radio personalities (including a marvelous Mia Farrow as a ditzy cigarette girl climbing the ladder to unlikely success), which calls like a beacon from that distant, over-the-bridge place called Manhattan, Allen’s film is a beguiling study of class that manages to be both funny and moving, shot by Carlo Di Palma with an evocative, burnished nostalgia that becomes almost incantatory. Highlights include Diane Keaton crooning Cole Porter and a swoon-inducing trip to the old Radio City Music Hall.
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