This series presents a retrospective of major films made by Woody Allen,
Mel Brooks, Blake Edwards and Hal Ashby from the 60's through the 80's. Each of these directors leaves a unique thumbprint on the style, the substance and the milieu of his films, but all four have two things in common:  like Charlie Chaplin they know that the very richest comedy lies just this side of despair, the catastrophic, even the tragic, and like every great comic and satiric genius from Aristophanes to Shaw and beyond, they know that the true artist of comedy must be blessed with an incurable case of irreverence for all ideas and people, both public and private, both sacred and secular. and especially those that pretend to having cornered the market on the truth. Film listings are subject to change.

In 1973, health food store owner Miles Munroe (Woody Allen) enters the hospital for a routine gall bladder operation. When he expires on the operating table, Miles' sister requests permission to cryogenically freeze her brother's body. After 200 years, Miles is unwrapped by a group of scientists and awakens to a Brave New World of deadening conformity, ruled with an iron fist by a never-seen Leader. Miles is forced to flee for his life when the scientists--actually a group of revolutionary activists--are overpowered by the Leader's police. He eludes the cops by pretending to be an android, and in this guise is sent to work at the home of Luna (Diane Keaton), a composer of greeting cards who thinks that the world of the future is perfect as it stands. Rated PG. 90 minutes. 1973.

Often considered the crown jewel in a highly acclaimed and prolific film career, ANNIE HALL is Woody Allen's only film to have won the Academy Award for Best Picture. The film is a brutally honest assessment of the prospects of a relationship between two very different people. Allen's Alvy is (like the filmmaker himself) an introverted, neurotic intellectual and a complete mismatch for Diane Keaton's vivacious, flaky Annie Hall. Although the romance is undoubtedly the center of the film, it affords Allen the opportunity to contrast his beloved New York culture with that of the Midwest, where Annie comes from, and Los Angeles, which tempts Annie with the possibility of fame and success as a singer. The city of New York itself plays an important part for the first time in an Allen film, with a great deal of location shooting that serves to highlight the city's character and atmosphere. Finally, the many comedic cameos peppered through the film--from Truman Capote to Paul Simon to media theorist Marshall McLuhan--pay tribute to the deserved reputation that Allen had gained for himself. Rated PG. 94 minutes. 1977.

One of Woody Allen's most enduring accomplishments, 'Manhattan' is a wry, touching and finely-rendered portrait of modern relationships against the backdrop of urban alienation. Sumptuously photographed in black and white (Allen's first film in that format), and accompanied by a magnificent Gershwin score, Allen's aesthetic triumph is a prismatic portrait of a time and place that may be studied decades hence.

42-year-old Manhattan native Isaac Davis (Allen) has a job he hates, a seventeen-year-old girlfriend, Tracy (Mariel Hemingway), who he doesn't love, and a lesbian ex-wife Jill (Meryl Streep) who's writing a tell-all book about their marriage, and whom he'd like to strangle. But when he meets his best friend's sexy, intellectual mistress, Mary (Diane Keaton), Isaac falls head over heels in lust! Leaving Tracy, bedding Mary and quitting his job are just the beginning of Isaac's quest for romance and fulfillment in a city where sex is as intimate as a handshake, and the gate to true love is a revolving door. Rated R. 96 mintues. 1979.

Marking perhaps his first public consideration of himself as an artist, Woody Allen's STARDUST MEMORIES is also a bold narrative exercise that recalls the films of Federico Fellini that Allen admires. Allen stars as Sandy Bates, a celebrated filmmaker who travels to a weekend retrospective of his films. There, he is assaulted by his fans and critics, and can only find refuge in the companionship of his friend's wife Daisy (Jessica Harper, SUSPIRIA fame), and in his memories of an intense relationship with beautiful but insane Dorrie (Charlotte Rampling). As the weekend continues, he struggles with his feelings of inadequacy, haunted by the repeated comment "I liked your earlier, funny films better." Among the extended cast are young actors Sharon Stone and Brent Spiner. Rated PG. 106 minutes. 1980.

Woody Allen blurs the the boundaries between the real and unreal in this unique comic fantasy. The scene is a small town in the mid-1930s. Trapped in a dead-end job and an abusive marriage, Cecelia (Mia Farrow) regularly seeks refuge in the local movie house. She becomes so enraptured by the latest attraction, an RKO screwball comedy called The Purple Rose of Cairo, that she returns to the theatre day after day. During one of these visits, the film's main character Tom Baxter (Jeff Daniels), pauses in his dialogue, turns towards the audience, and says to Cecelia, "My God, how you must love this picture." Then he climbs out of the movie, much to the consternation of the rest of the audience and the other characters on screen. Liberated from his customary black-and-white environs, he accompanies Cecelia on a tour of the town, eventually falling in love with her. Meanwhile, the other Purple Rose characters, unable to proceed with the film, carry on a discussion with themselves. Desperately, the RKO executives seek out Gil Shepherd, the actor who played the hero of Purple Rose. Shepherd (also played by Daniels), is sent to Cecelia's hometown to see if he can repair the damage. Rated PG. 84 minutes. 1985.

A sweet and clever combination of anecdotes and autobiography, Radio Days draws heavily on Woody Allen's childhood. Fittingly, the unfolding episodes are woven together by music--lovely hits of the 1940s like "In the Mood" and "That Old Feeling." Some episodes are built around radio itself (like the burglars who answer the phone in a house they're burgling and win a radio contest), and others center on the life of a young Jewish boy (Seth Green, clearly playing a version of Allen himself as a child). Though light in tone, Radio Days is an ambitious re-creation not simply of an era, but of radio itself. Nowadays radio is little more than a way to sell pop tunes, but it used to transmit dreams; watching this movie, you get a taste of how inspiring this simpler medium could be. Rated PG. 79 minutes.

Leonard Zelig, the "human chameleon", is profiled in this mock-documentary. Director Woody Allen appears as Zelig in scenes that purport to be vintage newsreel clips of the 1920s and 1930s, but are actually clever recreations, "aged" and scratched-up Citizen Kane-style by special-effects maestros Joel Hynick, Stuart Robinson and R. Greenberg Associates. An appropriately pompous narrator details the life and times of Leonard Zelig, whose overwhelming desire for conformity is manifested in his ability to take on the facial and vocal characteristics of whomever he happens to be around at the moment. He shows up at batting practice with Babe Ruth, among William Randolph Hearst's guests as San Simeon, side by side with Pope Pius at the Vatican, and peering anxiously over the shoulder of Adolf Hitler at the Nuremberg Rally. Mia Farrow plays Dr. Eudora Fletcher , a psychiatrist who tries to "reach" Zelig and ultimately falls in love with him. ~ Hal Erickson, All Movie Guide Rated PG. 79 minutes.

Mel Brooks's directorial debut remains both a career high point and a classic show business farce. Hinging on a crafty plot premise, which in turn unleashes a joyously insane onstage spoof, The Producers is powered by a clutch of over-the-top performances, capped by the odd couple pairing of Zero Mostel and Gene Wilder, making his screen debut. Mostel is Max Bialystock, a gone-to-seed Broadway producer who spends his days wheedling checks from his "investors," elderly women for whom Bialystock is only too willing to provide company. When wide-eyed auditor Leo Bloom (Wilder) comes to check the books, he unwittingly inspires the wild-eyed Max to hatch a sure-fire plan: sell 25,000 percent of his next show, produce a deliberate flop, then abscond with the proceeds. Unfortunately for the producers (but fortunately for us), their candidate for failure is Springtime for Hitler, a Brooksian conceit that envisions what Goebbels might have accomplished with a little help from Busby Berkeley. Rated PG. 90 minutes.

Mel Brooks scored his first commercial hit with this raucous Western spoof starring Cleavon Little as the newly hired (and conspicuously black) sheriff of Rock Ridge. Sheriff Bart teams up with deputy Jim (Gene Wilder) to foil the railroad-building scheme of the nefarious Hedley Lamarr (Harvey Korman). The simple plot is just an excuse for a steady stream of gags, many of them unabashedly tasteless, that Brooks and his wacky cast pull off with side-splitting success. The humor is so juvenile and crude that you just have to surrender to it; highlights abound, from the lunkheaded Alex Karras as the ox-riding Mongo to Madeline Kahn's uproarious send-up of Marlene Dietrich as saloon songstress Lili Von Shtupp. Adding to the comedic excess is the infamous campfire scene involving a bunch of hungry cowboys, heaping servings of baked beans and, well, you get the idea. - Jeff Shannon Rated R. 93 minutes.

Spoofing classic horror in the way that Mel Brooks's previous film Blazing Saddles sent up classic Westerns, this movie is both a loving tribute and a raucous, irreverent parody of Universal's classic horror films. Filming in glorious black and white, Brooks re-created the Frankenstein laboratory using the same equipment from the original Frankenstein, and this loving attention to physical and stylistic detail creates a solid foundation for nonstop comedy. The story, of course, involves Frederick Frankenstein (Gene Wilder) and his effort to resume experiments in re-animation pioneered by his late father. Assisting him is the hapless hunchback Igor (Marty Feldman) and the buxom but none-too-bright maiden Inga (Teri Garr), and when Frankenstein succeeds in creating his monster (Peter Boyle), the stage is set for an outrageous revision of the Frankenstein legend. With comedy highlights too numerous to mention, Brooks guides his brilliant cast through scene after scene of inspired hilarity. - Jeff Shannon. Rated PG. 105 minutes.

Blake Edwards' Inspector Clouseau films really took their complete shape with this second movie in the series, which features star Peter Sellers really tweaking that French accent and key supporting players Herbert Lom, Burt Kwouk, and André Maranne. The story finds Sellers refusing to believe in the guilt of a beautiful woman (Elke Sommer) accused of murder, and there are a number of hilarious sequences, including one in which Clouseau goes "undercover" at a nudist colony. Arguably the best of the films, A Shot in the Dark definitely finds Edwards honing a seamless blend of slapstick, brilliant timing, verbal wit, a great cast, and Sellers's brilliance into a unique experience. - Tom Keogh Rated PG. 102 minutes.

Blake Edwards' delightful Victor/Victoria may be one of the last of the great, old-style movie musical comedies. The film stars Edwards's wife Julie Andrews in the title role as Victor and Victoria. She's a down-and-out singer who hooks up with a flamboyantly gay theatrical veteran (Robert Preston), and together they become the toast of 1934 Paris by dreaming up a provocative nightclub act in which Victoria assumes the identity of a man in drag. So, in other words, Andrews plays a woman playing a man playing a woman ... and that's only the beginning of the sexual identity confusions that provide the fuel for this splendidly classy slapstick musical farce. James Garner, as a Chicago club owner, finds himself strangely besotted with this stylish, androgynous creature - even though he thinks Victor/Victoria is a man. Legendary Hollywood composer Henry Mancini (a longtime collaborator with Edwards) won his last Oscar for the score; Andrews, Preston, and Lesley Ann Warren, as Garner's cheeky girlfriend, were also nominated. - Jim Emerson Rated PG. 133 minutes.

In a broad sense, Hal Ashby's cult classic Harold and Maude is a simple love story about how opposites attract - this time around, he's 19 and she's 79. Harold, played with deadpan humor by Bud Cort (M*A*S*H), is under extreme pressure from his overbearing mother, Mrs. Chasen (Vivian Pickles), to enter the dating world. Unfortunately, the shy and morose Harold would rather spend his time attending the funerals of complete strangers. It is at one of these where he meets Maude (Ruth Gordon), who has the spunk and energy of a teenager. Maude is convinced that Harold needs to come out of his shell and enjoy life, so she brings him into hers. The taboo relationship between Harold and Maude, created by screenwriter Colin Higgins, embodied the spirit of an experimental generation guided by the mantra "If it feels good, do it." The love affair between the film's two eccentrics remains one of Hollywood's most unexpected, but tender, romances. The soundtrack, with songs by Cat Stevens, provides an effective thematic bridge as Harold crosses from extended adolescence into manhood. Rated PG. 91 minutes.

Being There has become a celebrated comedy with a loyal following, in spite of receiving mixed reviews during its theatrical release. This unusual black comedy was adapted by Jerzy Kozinsky from his own novel about a simple-minded, middle-aged gardener (Peter Sellers, who won an Academy Award for the role) who, after a lifetime of seclusion and safety in a Washington, D.C. townhouse, gets his first exposure to reality beyond the walls of his sheltered existence. His only reference to the world is through his childlike addiction to television, and when a chance encounter brings him into the inner fold of a dying billionaire (Melvyn Douglas, who won the Academy Award for Best Supporting Actor), he suddenly finds himself the toast of Washington's political elite. His simple phrases about gardening are misinterpreted as anything from economic predictions to sage political advice, and under the sharp direction of Hal Ashby, Sellers has the audacity to take this comedic conceit to its logical extreme. - Jeff Shannon Rated PG. 130 minutes.