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Radio Days Reviews
Beautiful nostalgic funny movie I enjoy it everytime I se e it
O filme é lindo, é de uma simplicidade. Mia Farrow e Dianne Wiest estão um espetáculo nesse filme, um longa que nos traz grande memória afetiva .
Radio Days was the most expensive film that Woody Allen had made up until that point, and it is easy to see where the money went. This sprawling story has a rich gallery of sets and scenes, a larger number of actors and extras than usual, various bands and singers, and the use of age-appropriate props – re-creations of signs from the era, old-fashioned cars and exquisite costumes. Inevitably some short cuts are taken. The scene where a child falls down a well is obviously taking place in a studio where lighting and darkness conceal the low-budget re-enactment of this dramatic event. Nonetheless the film is less thrifty than the average Allen movie, simply by dint of its ambitiousness. Yet this comparatively lavish expenditure did not prevent the film from running at a loss of over a million dollars, and it is easy to understand why. It is not that Radio Days is a bad movie. Sometimes the story meanders, but in an amiable way, and no more than Annie Hall. Admittedly Annie Hall had a more serious thread running through it. Nonetheless this film is charming, warm and funny, and there is much to enjoy. However most audience members are missing an entire dimension of understanding when they watch Radio Days, and I include myself in this. The film dwells in nostalgia for an old era before televisions were found in every house when everyone sat home and listened to the radio. Allen celebrates and affectionately mocks the age when many of the most famous celebrities were radio stars. The film is semi-autobiographical. It is not Allen's real childhood, but a misty, idealised version of it, filmed in colours that are both bright and muted, giving the film a brown look. The opening words of the movie are "Once upon a time…", and this gives us some idea how literally we should take these events. We are seeing the early years of Allen's life as it appears in his fondest memories, not his life as it really happened. The story features a family who may or may not have been Allen's own, and the experiences of a young boy with familiar large glasses, who is naturally interested in kissing girls. (Allen himself does not appear in the film, but he does narrate it.) There is no attempt to offer up all the details of this semi-fictional boy and his family. The focus is on the ways in which their lives related to the radio, the hub of their social interactions and fantasies. The radio shows that they enjoy reflect something of their personalities. Allen shows us the realities of radio broadcasts. We see how they were recorded, and get to meet the stars. In the process, we are given a chance to laugh at the realities of the radio world – the quizzes, dramas, thrillers, chat shows and silly inspirational sports stories. A number "old radio stories" are reeled out too, such as one about the burglars who pick up the phone in a house they are robbing, and find themselves answering music questions on a radio show. The narrating Allen concludes by saying: I've never forgotten any of those people or any of the voices we used to hear on the radio. Although the truth is with the passing of each New Year's those voices do seem to grow dimmer and dimmer. Radio Days constitutes one final attempt to capture those treasured memories on film before those voices disappear forever. I wrote a longer appreciation of Radio Days on my blog page if you would like to read more: https://themoviescreenscene.wordpress.com/2019/05/06/radio-days-1987/
Wasn't for me. Didn't enjoy the story lines, the wasn't that drawn in by the acting, and too much of the music of the time. Farrow and Kavner were solid, but otherwise, the acting seemed half-hearted. Hard to believe that's Seth Green. Doesn't even look much like him. I get what Allen was going for (I assume, anyway), but it comes off too much as nostalgia for me. And the mix of segments on the radio business, the lives of the grownups, and the scenes of the kids on their own just didn't add to much that was interesting. 2.6 stars
Set in early 1940s New York, Radio Days is Woody Allen's loving tribute to the golden age of radio. Centered around young Joe (Seth Green) and his seemingly dysfunctional but tightly-knit family, the film consists of a series of vignettes, all centered around the impact of radio broadcasting on its listeners. Like most of Allen's movies, the cast is expansive (Mia Farrow, Danny Aiello, Jeff Daniels, Julie Kavner, Dianne Wiest, among others) and does an excellent job with a solid script. Filled with great music from the era and spot on period details, the film effectively captures the essence of the times. It is one of Allen's most pleasant and satisfying films.
I have watched this movie twice: once, thirty-five years ago, when it came out; and the second time tonight, as a tonic to counter unnerving current events. More refreshing than the movie‘s Pepsi Cola props. The stories/vignettes, the performances, and the actors themselves were as fresh as they were in 1987. The movie is much less dated and much more timeless than one might expect. By way of with, insight, observation or story-telling, no one evokes the spirit of New York better than Woody Allen. With poignant realism countered by unabashed romanticism, he is as singular as his City.
Wonderful nostalgic, funny film.
Woody Allen directs another period piece from the good old days of radio entertainment It focuses on a middle-aged man; he looks back on his childhood in Rockaway, N.Y., in a series of vignettes focused on the golden days of radio Joe who narrates, is portrayed as a teenager by Seth Green Eccentric relatives and radio personalities inhabit various stories, including an unlucky aunt (Dianne Wiest), a cigarette girl (Mia Farrow) with career ambitions, and two burglars with excellent timing Young Joe involves his friends in a scam to earn a decoder ring His hero is the Masked Avenger from a radio program This has a lot of likable actors yet lacks the depth and bite of this director's earlier efforts But it is tribute and still relevant criticism, aching for times gone by while acknowledging that this medium of easy entertainment comes with a price If it's the early 1900s or now we still get old and never know what it's about Will future generations remember or forget what we as humans have done big or small? It's natural to be scared of the future but not forget the past entirely
They were of the generation who this movie appealed to. Basically a comedy taking place in the 1930's before television when radio was king of entertainment. It's more a series of vignettes than an overall story. Opening with house burglars answering a telephone call from a radio station to win a contest, a Jewish family not able to turn off their radio one day due to it being a religious holiday, and funniest of all, a woman and her boyfriend in their car, the latter panicking and fleeing when he hears Orson Welles's "War Of The Worlds" broadcast and thinks Martians have really landed. The movie even maintains a proper 1930's atmosphere. If you are a veteran or fan of that era, this movie is for you.
Woody takes a warm, nostalgic look back at his childhood with a series of vignettes that are loosely connected. Instead of a plot he opts to create a real sense of time and place. And he absolutely nails it.
Funny Woody Allen film
One of Woody Allen's better films. A nostalgia piece about 1940s radio celebrities with a bit of irreverence thrown in. I'll have forgotten all about it within a couple of days.
My favorite Woody Allen film by far. Dripping with sentiment and lovingly crafted.
I remember this I remember that . I remember this being mediocre 2.7
Absolutely nothing interesting going on.
The structure of a film is very important and because this movie never really settles on one it becomes rather difficult to follow. This is why it is befuddling that Woody Allen received an Academy Award nomination for his work on this screenplay as it feels like he threw a half a dozen comedic ideas into a blender and ended up with this film. Sure, there are a few entertaining segments and the genius of Dianne Wiest ensures that there are a few laughs but for a film that was so brief at just 85 minutes long I felt myself wanting it to just end. An adult version of Joe, Seth Green, narrates vignettes in which he looks back with nostalgic fondness on his childhood in 1940s New York City during which radio entertainment was popular. He recalls his parents arguing constantly and the fact that his Aunt Bea, Dianne Wiest, is trying to find love with all the wrong men. He and his friends spend their time on the beach and spy a naked woman dancing to music in her room one day whom they later discover is their teacher. He is also fascinated with the stars of the day including Sally White, Mia Farrow, who has an unpleasant voice and begins her career as a cigarette girl but is attractive enough to catch the eye of the successful but married Roger Daley, David Warrilow. The two are trapped on a roof and he does not help to further her career but unexpectedly gangster Rocco, Danny Aiello, who kidnaps her proves to be her savior due to the influence of his mother. With vocal training she sounds sophisticated enough to host a weekly celebrity gossip program and achieves great success but as an adult Joe notes he fails to remember most stars of the era looking back as an older man. Most of my irritation with the film came with the fact that all of the vignettes were so brief that I struggled to get a sense of the era that Allen was trying to evoke and the colorful characters with ‘hidden depth'. Had some of these storylines been expanded and had more time to breathe and explore I may have taken more interest in them. For example, we know very little about Joe and his boyhood friends so the payoff of jokes about him witnessing a German submarine alone and ogling his future teacher is lacking. Were some of the friends to stand out as more than just generic stereotypes of young Jewish boys I would have felt more affection for them and this would have given the sense of tight knit community that Allen clearly wants us to believe existed for Joe during his childhood. This is one of many situations where Allen does not do enough to make us care about his characters or fill scenes with content that will leave the audience more than mildly amused but at times bored. Some of the performances are entertaining as the always reliable Wiest is a stand out with her delightfully breathy voice and ability to make a ditzy character likable despite her questionable choices. I was entranced when she appears on screen as she makes even throwaway lines funny as she fiddles with her glasses or expresses frustration at abandonment from one of her suitors in response to a radio broadcast. There is so much that she does with the role that you yearn to see more of her and yet the film is tied up with so many other plotlines that she is shortchanged as she cycles through a few other boyfriends and ends up alone at the end of the film. It is a credit to Wiest that she makes so much out of a nothing role and with relatively little screen time invests Bea with so much heart but Allen should have known that he had struck gold with this character and cut out the less absorbing plotlines. I suppose the film is not entirely objectionable but it is not Allen's best and he should not be forgiven for this weaker effort when he displayed that he was capable of making focused, direct comedies during this era. The greatest sin that the film commits is allowing Diane Keaton to sing, something that occurs in far too many films for my liking considering her lack of ability.
I saw this as a kid. It was fine, but not memorable. I'll have to watch it again. I saw it again and it was much better than I remembered. Mostly because it shows what the radio culture was and what it meant to people. The music, the narratives, the news. This is what people lived for and something that we forget. It is beautiful for that alone.
A nice, upbeat movie about the good old radio days, this isn't Woody Allen's best film, but it's certainly up there.