Beschreibung:
This essay argues that Woody Allen's break with Mia Farrow engendereda search for a new artistic direction and a new persona, signaled bythe unsettling film Husbands and Wives (1992) and followed by twoextraordinary views of the moral dilemmas and personal sacrifices of alife in art, Bullets over Broadway (1994) and DeconstructingHarry (1997). These three films, the best of Allen's work in thenineties, demonstrate a deeply reflective, and self-reflective, mood andmode as the director meditates on the modernist issues of the autonomyof the artist and the salvation of art. What may be hardest for hisaudience to accept about these films is that they embrace a vision ofthe artist/writer as a carnivorous creator of beauty and form, completelyindifferent to offending the moral sensitivities or violating the personalsensibilities of those whose lives nurture and sustain his talent.