Like Mia Farrow modestly quips about this romance, “I just met a wonderful new man he’s fictional, but you can’t have everything.” The brilliance of this deceptively harmless daydream is the juxtaposition with which it is contrasted. In many ways, it is Allen’s love letter to the power of motion pictures, as well as his lament about how they’re never quite good enough.Īs the story of what happens when a character from a movie steps out of the silver screen to make a day of it with his most devoted patron, The Purple Rose of Cairo is remembered for its brilliant use of magical realism to tell the love story of a woman and her favorite movie. By eschewing what had become expected of his films, the idiosyncratic voice from Coney Island crafted something truly exceptional: an articulation about the bridge between reality and fiction, and why that enticing structure must always be admired, if never crossed. As one of Woody’s very best films, Purple Rose is also regularly overlooked for its differences from the majority of Allen’s catalogue. This perfectly marvelous style has given us more than a few classics over the last 40 years, but it’s also what makes The Purple Rose of Cairo such a uniquely satisfying affair. And of course, this loquacious malcontent will be surrounded by charming postcard-perfect Manhattan streets or delightful European gardens, and between all the wisecracks charged to the expense account of pseudo-intellectuals, as well as nudges to fellow Ingmar Bergman fans, there will at last be an inescapable melancholy about the finality of life that all people must face, particularly Woody.

One of these lovable neurotics will also be a male lead in a plaid shirt who, depending on the decade, Woody himself will play. There will almost certainly be several anxious and witty characters that have great comic timing in all things related to self-deprecation and sex. Often when stepping into a Woody Allen movie, you have certain preconceived notions about what to expect.

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