In response to my lament regarding how some people think watching movies makes them an expert in a public policy area, Kevin Drum points out a broader problem with how people judge what they do and don’t know:
Everyone with the manual dexterity to hoist a beer can regale you with confident answers to all the ills of society, while in the very next breath insisting that you don’t know what you’re talking about when it comes to subject X. That’s a lot more complicated than you think.
Subject X, of course, is something they happen to know a lot about, probably because they work in the field. But it doesn’t matter. The fact that they’ve learned to be cautious about the one field they know the most about doesn’t stop them from assuming that every other field is pretty simple and tractable.
It would be absurd to deny this sad phenomenon. Kevin is describing how possession of deep knowledge in some areas doesn’t generalize into an assumption that there is also relevant deep knowledge in areas in which we are not specialists. During some of the hottest cultural debates of recent years, I have been thinking about this same lack of generalization from the other direction: Why don’t we assume we are ignorant in unfamiliar areas when we have the experience of ignorance in familiar ones? I am thinking in particular of our quotidian experience of misunderstanding or misremembering our interactions with other people. Continue reading “I Wasn’t There, But Let Me Tell You Exactly What Happened”
Over 35 years on, Woody Allen’s Annie Hall retains its enormous charm and wit
Given how many weak movies make a lot of money and garner a pile of laurels, it is particularly satisfying when justice is done and a magnificent film is a hit both with audiences and critics. So it was with this week’s film recommendation: 1977’s Best Picture Oscar winner Annie Hall.
The plot is straightforward. A neurotic Jewish comedian from Brooklyn who is a lot like Woody Allen falls in love with a kooky, lovely, endearing Wisconsin girl who is a lot like Diane Keaton. He educates her about his hang-ups, psychoanalysis, death, and ethnic baggage. She educates him about how to lighten up and enjoy life. But it doesn’t last. And then it is on again. And then it is off again. And along the way the audience laughs very hard many, many times. As in Shakespeare plays, there isn’t much new here story-wise, but the execution is an inspiration.
Director/Star Woody Allen was at the time known as a sharp stand-up comedian and a maker of funny, lightweight movies (e.g., Take the Money and Run). No one but Woody knew that he also had the ability to make extremely personal, affecting films with strong dramatic moments combined with his trademark hilarity. This movie launched a new phase of his career which has produced many artistic triumphs.
And as for Keaton, I once quoted here former Stanford University President Gerhard Casper saying that “falling in love with Audrey Hepburn was an essential, civilizing experience for all human beings”. For a subsequent generation, the same could have been said of Diane Keaton. Men wanted to take care of her and women wanted to dress like her and a have a cool New York apartment like her. Allen puts incredible faith in Keaton, letting the camera roll and roll as she is alone on screen in several key scenes, and she delivers every time.
I can’t close without posting one of the most famous bits from the film (it ruins nothing of the story), which highlights Allen’s endearingly hostile wit, his chronic and effective breaking of the fourth wall, and his on screen chemistry with his amazing co-star.