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Zelig

November 19, 2023

This article is about the movie. For other uses, see Zelig (disambiguation).

Zelig is a 1983 American satirical mockumentary comedy film written, directed by and starring Woody Allen as Leonard Zelig, a nondescript enigma, who, apparently out of his desire to fit in and be liked, unwittingly takes on the characteristics of strong personalities around him. The film, presented as a documentary, recounts his period of intense celebrity during the 1920s, including analyses by contemporary intellectuals.

Zelig
Original poster
Directed byWoody Allen
Written byWoody Allen
Produced byRobert Greenhut
Starring
Narrated byPatrick Horgan
CinematographyGordon Willis
Edited bySusan E. Morse
Music byDick Hyman
Production
company
Distributed byWarner Bros.[1]
Release date
  • July 15, 1983 (1983-07-15)
Running time
79 minutes[1]
CountryUnited States[2]
LanguageEnglish
Box office$11.8 million[1]

The film received critical acclaim and was nominated for numerous awards, including the Academy Awards for Best Cinematography and Costume Design.

Style edit

Zelig was photographed and narrated in the style of 1920s black-and-white newsreels, which are interwoven with archival footage from the era and re-enactments of real historical events. Color segments from the present day include interviews of real cultural figures, such as Saul Bellow and Susan Sontag, and fictional ones.

Plot edit

Set in the 1920s and 1930s, the film concerns Leonard Zelig (Woody Allen), a nondescript man who has the ability to transform his behavior and demeanor to that of the people who surround him. He is first observed at a party by F. Scott Fitzgerald, who notes that Zelig related to the affluent guests in a refined Boston accent and shared their Republican sympathies, but while in the kitchen with the servants, he adopted a coarser tone and seemed to be more of a Democrat. He soon gains international fame as a "human chameleon".

Interviewed in one of the witness shots, psychologist Bruno Bettelheim makes the following comment:[3]

The question of whether Zelig was a psychotic or merely extremely neurotic was a question that was endlessly discussed among his doctors. Now I myself felt his feelings were really not all that different from the normal, what one would call the well-adjusted, normal person, only carried to an extreme degree, to an extreme extent. I myself felt that one could really think of him as the ultimate conformist.

Dr. Eudora Fletcher (Mia Farrow) is a psychiatrist who wants to help Zelig with this strange disorder when he is admitted to her hospital.[4] Through the use of hypnotism, she discovers Zelig yearns for approval so strongly that he physically changes to fit in with those around him. Dr. Fletcher eventually cures Zelig of his compulsion to assimilate, but goes too far in the other direction; for a brief period he is so intolerant of others' opinions that he gets into a brawl over whether or not it is a nice day.

Dr. Fletcher realizes that she is falling in love with Zelig. Because of the media coverage of the case, both patient and doctor become part of the popular culture of their time. However, fame is the main cause of their division. Numerous women claim that he married and impregnated them, causing a public scandal. The same society that made Zelig a hero destroys him.

Zelig's illness returns, and he tries to fit in once more, before he disappears. Dr. Fletcher finds him in Germany working with the Nazis before the outbreak of World War II. Together they escape, as Zelig uses his ability to imitate one more time, mimicking Fletcher's piloting skills and flying them back home across the Atlantic upside down. They eventually return to America, where they are proclaimed heroes and marry to live full happy lives.

Cast edit

Susan Sontag, Irving Howe, Saul Bellow, Bricktop, Dr. Bruno Bettelheim and Professor John Morton Blum appear as themselves.

Production edit

Allen used newsreel footage, and inserted himself and other actors into it, using bluescreen technology.[5] To provide an authentic look to his scenes, Allen and cinematographer Gordon Willis used a variety of techniques, including locating some of the antique film cameras and lenses used during the eras depicted in the film, and simulating damage, such as crinkles and scratches, on the negatives to make the finished product look more like vintage footage. The virtually seamless blending of old and new footage was achieved almost a decade before digital filmmaking technology made such techniques much easier to accomplish, as seen in films such as Forrest Gump (1994) and various television advertisements.[6]

The film uses cameo appearances by real figures from academia and other fields for comic effect.[7] Contrasting the film's vintage black-and-white film footage, these persons appear in color segments as themselves, commenting in the present day on the Zelig phenomenon as if it really happened. They include essayist Susan Sontag, psychoanalyst Bruno Bettelheim, Nobel Prize-winning novelist Saul Bellow, political writer Irving Howe, historian John Morton Blum, and the Paris nightclub owner Bricktop.

Also appearing in the film's vintage footage are Charles Lindbergh, Al Capone, Clara Bow, William Randolph Hearst, Marion Davies, Charlie Chaplin, Josephine Baker, Fanny Brice, Carole Lombard, Dolores del Río, Adolf Hitler, Joseph Goebbels, Hermann Göring, James Cagney, Jimmy Walker, Lou Gehrig, Babe Ruth, Adolphe Menjou, Claire Windsor, Tom Mix, Marie Dressler, Bobby Jones, and Pope Pius XI.

In the time it took to complete the film's special effects, Allen filmed A Midsummer Night's Sex Comedy and Broadway Danny Rose. This is Orion Pictures' last film to be released through Warner Bros.

Release edit

Before being shown at the Venice Film Festival, the film opened on six screens in the US and grossed US$60,119 on its opening weekend; it eventually earned US$11.8 million in North America.[1]

Critical reaction edit

Zelig has a 97% rating on the review aggregator Rotten Tomatoes based on 31 reviews, with an average score of 8/10. The site's consensus reads: "Wryly amusing, technically impressive, and ultimately thought-provoking, Zelig represents Woody Allen in complete command of his craft".[8]

In his review in The New York Times, Vincent Canby observed:

[Allen's] new, remarkably self-assured comedy is to his career what ... Berlin Alexanderplatz is to Rainer Werner Fassbinder's and ... Fanny and Alexander is to Ingmar Bergman's ... Zelig is not only pricelessly funny, it's also, on occasion, very moving. It works simultaneously as social history, as a love story, as an examination of several different kinds of film narrative, as satire and as parody ... [It] is a nearly perfect – and perfectly original – Woody Allen comedy.[9]

Variety said the film was "consistently funny, though more academic than boulevardier",[10] and The Christian Science Monitor called it "amazingly funny and poignant".[11] Time Out described it as "a strong contender for Allen's most fascinating film",[12] while TV Guide said, "Allen's ongoing struggles with psychoanalysis and his Jewish identity – stridently literal preoccupations in most of his work – are for once rendered allegorically. The result is deeply satisfying".[13] Gene Siskel gave the film two stars out of four, calling it "a beautifully made but slight fable."[14] Pauline Kael wrote that when the film was over "I felt good, but I was still a little hungry for a movie. There's a reason 'Zelig' seems small; there aren't any characters in it, not even Zelig."[15]

Colin Greenland reviewed Zelig for Imagine magazine, and stated that "Woody Allen's most irresistable film for quite a while. He has found a new way to make fun of his own neuroses without exposing us to the egoism which became so overbearing in Manhattan or Stardust Memories."[16]

It ranked 588th among critics, and 546th among directors, in the 2012 Sight & Sound polls of the greatest films ever made.[17] Chris Nashawaty of Entertainment Weekly listed the work as one of Allen's finest, lauding it as "a spot-on homage to vintage newsreels and a seamless exercise in technique."[18] The Daily Telegraph film critics Robbie Collin and Tim Robey also named it as a career highlight and argued, "The special effects, in which Allen is seamlessly inserted into vintage newsreels, are still astonishing, and draw out the aching tragicomedy of Zelig's plight. He's the original man who wasn't there."[19] Calum Marsh of Slant magazine wrote, "We are infinitely pliable. That's the thesis of Zelig, Allen's wisest film, which has much to say about the way a person can be bent and contorted in the name of acceptance. Its ostensibly wacky conceit ... is grounded in an emotional and psychological reality all too familiar to shrug off as farce. We'll go very far out of our way to avoid conflict. Zelig seizes on that weakness and forces us to recognize it."[20]

Awards and nominations edit

Soundtrack edit

  • Leonard the Lizard (1983) - Composed by Dick Hyman - Sung by Bernie Kuce, Steve Clayton and Tony Wells
  • Doin' the Chameleon (1983) - Composed by Dick Hyman - Sung by Bernie Kuce, Steve Clayton and Tony Wells
  • Chameleon Days (1983) - Composed by Dick Hyman - Performed by Mae Questel
  • You May Be Six People, But I Love You (1983) - Composed by Dick Hyman - Sung by Bernie Kuce, Steve Clayton and Tony Wells
  • Reptile Eyes (1983) - Composed by Dick Hyman - Sung by Rose Marie Jun
  • The Changing Man Concerto (1983) - Composed by Dick Hyman
  • I've Got a Feeling I'm Falling (1929) - Music by Fats Waller (as Thomas 'Fats' Waller) and Harry Link - Sung by Roz Harris
  • I'm Sitting on Top of the World (1925) - Music by Ray Henderson - Sung by Norman Brooks
  • Ain't We Got Fun (1921) - Music by Richard A. Whiting - Performed by The Charleston City All Stars
  • Sunny Side Up (1929) - Music and Lyrics by Ray Henderson, Lew Brown and Buddy G. DeSylva - Performed by The Charleston City All Stars
  • I'll Get By (1928) - Music by Fred E. Ahlert - Performed by The Ben Bernie Orchestra
  • I Love My Baby, My Baby Loves Me (1925) - Music by Harry Warren - Performed by The Charleston City All Stars
  • Runnin' Wild (1922) - Music by A.H. Gibbs - Performed by The Charleston City All Stars
  • A Sailboat in the Moonlight (1937) - Written by Carmen Lombardo and John Jacob Loeb (as John Loeb) - Performed by The Guy Lombardo Orchestra
  • Charleston (1923) - Music by James P. Johnson - Performed by Dick Hyman
  • Chicago (That Toddlin' Town)(1922) - Written by Fred Fisher - Performed by Dick Hyman
  • Five Feet Two, Eyes of Blue (1925) - Music by Ray Henderson - Performed by Dick Hyman
  • Anchors Aweigh (1906) - Music by Charles A. Zimmerman - Modified by Domenico Savino (1950) - Performed by Dick Hyman
  • Take Me Out to the Ballgame (1908) - Music by Albert von Tilzer
  • The Internationale (1888) - Music by Pierre De Geyter[24]

See also edit

References edit

  1. ^ a b c d Zelig at Box Office Mojo. Retrieved July 4, 2016.
  2. ^ . British Film Institute. Archived from the original on November 17, 2018. Retrieved December 5, 2018.
  3. ^ Gabbard, Glen O.; Gabbard, Krin (1999). Psychiatry and the Cinema (2nd ed.). Arlington County, Virginia: American Psychiatric Publishing. pp. 264-265. ISBN 978-0-880-48964-5. from the original on January 19, 2018. Retrieved October 20, 2016.
  4. ^ Eudora Fletcher was the name of the principal of P.S. 99 in Brooklyn, NY, the elementary school Allen attended as a child.
  5. ^ . Time Out. Archived from the original on December 9, 2018. Retrieved January 31, 2017. Film critic David Jenkins, who chose Zelig as his favorite, notes the film's "footage filmed on antique cameras, recontextualised newsreel, and shrewd use of blue screen technology."
  6. ^ ""Zelig" - The films of Woody Allen". CBS. from the original on May 11, 2017. Retrieved January 31, 2017.
  7. ^ Canby, Vincent (July 15, 1983). "FILM: 'ZELIG,' WOODY ALLEN'S STORY ABOUT A 'CHAMELEON MAN'". The New York Times. from the original on March 18, 2021. Retrieved January 31, 2017.
  8. ^ "Zelig". Rotten Tomatoes. Fandango. from the original on April 27, 2019. Retrieved November 7, 2022.
  9. ^ Carby, Vincent (July 17, 1983). "Zelig (1983) WOODY ALLEN CONTINUES TO REFINE HIS CINEMATIC ART". The New York Times. New York. from the original on September 16, 2012. Retrieved July 4, 2012.
  10. ^ "Variety review". from the original on November 25, 2009. Retrieved April 20, 2020.
  11. ^ "Christian Science Monitor review". The Christian Science Monitor. August 18, 1983. from the original on January 25, 2021. Retrieved December 30, 2020.
  12. ^ Huddleston, Tom (December 22, 2011 – January 4, 2012). . Time Out. New York. Archived from the original on October 11, 2020. Retrieved August 28, 2013.
  13. ^ "TV Guide review". from the original on March 28, 2019. Retrieved April 20, 2020.
  14. ^ Siskel, Gene (August 19, 1983). "Great filmmaking wasted on a disappointing film". Chicago Tribune. Section 6, p. 3.
  15. ^ Kael, Pauline (August 8, 1983). "The Current Cinema". The New Yorker. 84.
  16. ^ Greenland, Colin (January 1984). "Film Review". Imagine (review). TSR Hobbies (UK), Ltd. (10): 37.
  17. ^ . Sight & Sound. British Film Institute. Archived from the original on December 28, 2019. Retrieved December 5, 2018.
  18. ^ Nashawaty, Chris (July 18, 2016). "Woody Allen Films, Ranked: 5. 'Zelig' (1983)". Entertainment Weekly. from the original on February 5, 2017. Retrieved February 1, 2017.
  19. ^ Collin, Robbie; Robey, Tim (October 12, 2016). "All 47 Woody Allen movies - ranked from worst to best". The Daily Telegraph. from the original on January 18, 2021. Retrieved February 1, 2017.
  20. ^ Marsh, Calum (July 21, 2014). "The 10 Best Woody Allen Movies". Slant. from the original on November 20, 2016. Retrieved February 1, 2017.
  21. ^ "1984|Oscars.org". from the original on April 17, 2018. Retrieved April 7, 2020.
  22. ^ "Sven Nykvist Win Cinematography: 1984 Oscars". YouTube. from the original on April 5, 2020. Retrieved April 7, 2020.
  23. ^ "Fanny & Alexander Wins Costume Design and Art Direction: 1984 Oscars". YouTube. from the original on April 5, 2020. Retrieved April 7, 2020.
  24. ^ Harvey, Adam (2007). The Soundtracks of Woody Allen. US: Macfarland & Company,Inc. p. 148. ISBN 9780786429684.

Bibliography edit

  • Karlinsky, Harry (October 2007) [1983]. "Zelig: Woody Allen's classic film continues to impact the world of psychiatry [Zelig syndrome or Zelig-like syndrome]". Canadian Psychiatric Association. 3 (5). Archived from the original on August 15, 2013. Retrieved January 3, 2017.{{cite journal}}: CS1 maint: bot: original URL status unknown (link)
  • King, Mike (2016) [2008]. "Zelig and the Narcissism of the Other-Directed Person (pp. 166–167)". The American Cinema of Excess. Extremes of the National Mind on Film. Scotts Valley, California: On Demand Publishing, LLC-Create Space. ISBN 978-0-995-64801-2.
  • Sickels, Robert (2014) [2005]. "Chapter 11. "It Ain't the Movies! It's Real Life!" Cinematic Alchemy in Woody Allen's "Woody Allen" D(M)oc(k)umentary Oeuvre (pp. 179-190)". In Rhodes, Gary D.; Springer, John Parris (eds.). Docufictions. Essays on the Intersection of Documentary and Fictional Filmmaking. Jefferson, North Carolina: McFarland. ISBN 978-1-476-61049-8.

External links edit

 
Wikiquote has quotations related to Zelig.

November 19, 2023
zelig, this, article, about, movie, other, uses, disambiguation, 1983, american, satirical, mockumentary, comedy, film, written, directed, starring, woody, allen, leonard, nondescript, enigma, apparently, desire, liked, unwittingly, takes, characteristics, str. This article is about the movie For other uses see Zelig disambiguation Zelig is a 1983 American satirical mockumentary comedy film written directed by and starring Woody Allen as Leonard Zelig a nondescript enigma who apparently out of his desire to fit in and be liked unwittingly takes on the characteristics of strong personalities around him The film presented as a documentary recounts his period of intense celebrity during the 1920s including analyses by contemporary intellectuals ZeligOriginal posterDirected byWoody AllenWritten byWoody AllenProduced byRobert GreenhutStarringWoody Allen Mia FarrowNarrated byPatrick HorganCinematographyGordon WillisEdited bySusan E MorseMusic byDick HymanProductioncompanyOrion PicturesDistributed byWarner Bros 1 Release dateJuly 15 1983 1983 07 15 Running time79 minutes 1 CountryUnited States 2 LanguageEnglishBox office 11 8 million 1 The film received critical acclaim and was nominated for numerous awards including the Academy Awards for Best Cinematography and Costume Design Contents 1 Style 2 Plot 3 Cast 4 Production 5 Release 6 Critical reaction 7 Awards and nominations 8 Soundtrack 9 See also 10 References 11 Bibliography 12 External linksStyle editZelig was photographed and narrated in the style of 1920s black and white newsreels which are interwoven with archival footage from the era and re enactments of real historical events Color segments from the present day include interviews of real cultural figures such as Saul Bellow and Susan Sontag and fictional ones Plot editSet in the 1920s and 1930s the film concerns Leonard Zelig Woody Allen a nondescript man who has the ability to transform his behavior and demeanor to that of the people who surround him He is first observed at a party by F Scott Fitzgerald who notes that Zelig related to the affluent guests in a refined Boston accent and shared their Republican sympathies but while in the kitchen with the servants he adopted a coarser tone and seemed to be more of a Democrat He soon gains international fame as a human chameleon Interviewed in one of the witness shots psychologist Bruno Bettelheim makes the following comment 3 The question of whether Zelig was a psychotic or merely extremely neurotic was a question that was endlessly discussed among his doctors Now I myself felt his feelings were really not all that different from the normal what one would call the well adjusted normal person only carried to an extreme degree to an extreme extent I myself felt that one could really think of him as the ultimate conformist Dr Eudora Fletcher Mia Farrow is a psychiatrist who wants to help Zelig with this strange disorder when he is admitted to her hospital 4 Through the use of hypnotism she discovers Zelig yearns for approval so strongly that he physically changes to fit in with those around him Dr Fletcher eventually cures Zelig of his compulsion to assimilate but goes too far in the other direction for a brief period he is so intolerant of others opinions that he gets into a brawl over whether or not it is a nice day Dr Fletcher realizes that she is falling in love with Zelig Because of the media coverage of the case both patient and doctor become part of the popular culture of their time However fame is the main cause of their division Numerous women claim that he married and impregnated them causing a public scandal The same society that made Zelig a hero destroys him Zelig s illness returns and he tries to fit in once more before he disappears Dr Fletcher finds him in Germany working with the Nazis before the outbreak of World War II Together they escape as Zelig uses his ability to imitate one more time mimicking Fletcher s piloting skills and flying them back home across the Atlantic upside down They eventually return to America where they are proclaimed heroes and marry to live full happy lives Cast editWoody Allen Leonard Zelig Garrett Brown Actor Leonard Mia Farrow Dr Eudora Nesbitt Fletcher Ellen Garrison Older Eudora Marianne Tatum Actress Eudora Patrick Horgan Narrator Stephanie Farrow Meryl Fletcher Elizabeth Rothschild Older Meryl Mary Louise Wilson Ruth Zelig Sol Lomita Martin Geist John Rothman Paul Deghuee Sherman Loud Older Paul Deborah Rush Lita Fox Will Holt Rally Chancellor Peter McRobbie Workers Rally Speaker Mae Questel as Helen Kane voice Susan Sontag Irving Howe Saul Bellow Bricktop Dr Bruno Bettelheim and Professor John Morton Blum appear as themselves Production editAllen used newsreel footage and inserted himself and other actors into it using bluescreen technology 5 To provide an authentic look to his scenes Allen and cinematographer Gordon Willis used a variety of techniques including locating some of the antique film cameras and lenses used during the eras depicted in the film and simulating damage such as crinkles and scratches on the negatives to make the finished product look more like vintage footage The virtually seamless blending of old and new footage was achieved almost a decade before digital filmmaking technology made such techniques much easier to accomplish as seen in films such as Forrest Gump 1994 and various television advertisements 6 The film uses cameo appearances by real figures from academia and other fields for comic effect 7 Contrasting the film s vintage black and white film footage these persons appear in color segments as themselves commenting in the present day on the Zelig phenomenon as if it really happened They include essayist Susan Sontag psychoanalyst Bruno Bettelheim Nobel Prize winning novelist Saul Bellow political writer Irving Howe historian John Morton Blum and the Paris nightclub owner Bricktop Also appearing in the film s vintage footage are Charles Lindbergh Al Capone Clara Bow William Randolph Hearst Marion Davies Charlie Chaplin Josephine Baker Fanny Brice Carole Lombard Dolores del Rio Adolf Hitler Joseph Goebbels Hermann Goring James Cagney Jimmy Walker Lou Gehrig Babe Ruth Adolphe Menjou Claire Windsor Tom Mix Marie Dressler Bobby Jones and Pope Pius XI In the time it took to complete the film s special effects Allen filmed A Midsummer Night s Sex Comedy and Broadway Danny Rose This is Orion Pictures last film to be released through Warner Bros Release editBefore being shown at the Venice Film Festival the film opened on six screens in the US and grossed US 60 119 on its opening weekend it eventually earned US 11 8 million in North America 1 Critical reaction editZelig has a 97 rating on the review aggregator Rotten Tomatoes based on 31 reviews with an average score of 8 10 The site s consensus reads Wryly amusing technically impressive and ultimately thought provoking Zelig represents Woody Allen in complete command of his craft 8 In his review in The New York Times Vincent Canby observed Allen s new remarkably self assured comedy is to his career what Berlin Alexanderplatz is to Rainer Werner Fassbinder s and Fanny and Alexander is to Ingmar Bergman s Zelig is not only pricelessly funny it s also on occasion very moving It works simultaneously as social history as a love story as an examination of several different kinds of film narrative as satire and as parody It is a nearly perfect and perfectly original Woody Allen comedy 9 Variety said the film was consistently funny though more academic than boulevardier 10 and The Christian Science Monitor called it amazingly funny and poignant 11 Time Out described it as a strong contender for Allen s most fascinating film 12 while TV Guide said Allen s ongoing struggles with psychoanalysis and his Jewish identity stridently literal preoccupations in most of his work are for once rendered allegorically The result is deeply satisfying 13 Gene Siskel gave the film two stars out of four calling it a beautifully made but slight fable 14 Pauline Kael wrote that when the film was over I felt good but I was still a little hungry for a movie There s a reason Zelig seems small there aren t any characters in it not even Zelig 15 Colin Greenland reviewed Zelig for Imagine magazine and stated that Woody Allen s most irresistable film for quite a while He has found a new way to make fun of his own neuroses without exposing us to the egoism which became so overbearing in Manhattan or Stardust Memories 16 It ranked 588th among critics and 546th among directors in the 2012 Sight amp Sound polls of the greatest films ever made 17 Chris Nashawaty of Entertainment Weekly listed the work as one of Allen s finest lauding it as a spot on homage to vintage newsreels and a seamless exercise in technique 18 The Daily Telegraph film critics Robbie Collin and Tim Robey also named it as a career highlight and argued The special effects in which Allen is seamlessly inserted into vintage newsreels are still astonishing and draw out the aching tragicomedy of Zelig s plight He s the original man who wasn t there 19 Calum Marsh of Slant magazine wrote We are infinitely pliable That s the thesis of Zelig Allen s wisest film which has much to say about the way a person can be bent and contorted in the name of acceptance Its ostensibly wacky conceit is grounded in an emotional and psychological reality all too familiar to shrug off as farce We ll go very far out of our way to avoid conflict Zelig seizes on that weakness and forces us to recognize it 20 Awards and nominations edit56th Academy Awards 21 Academy Award for Best Cinematography Gordon Willis nominee 22 Academy Award for Best Costume Design Santo Loquasto nominee 23 37th British Academy Film Awards BAFTA Award for Best Original Screenplay nominee BAFTA Award for Best Cinematography nominee BAFTA Award for Best Special Visual Effects nominee BAFTA Award for Best Editing nominee BAFTA Award for Best Makeup nominee Writers Guild of America Award for Best Comedy Written Directly for the Screen nominee National Society of Film Critics Award for Best Cinematography Gordon Willis nominee 41st Golden Globe Awards Golden Globe Award for Best Motion Picture Musical or Comedy nominee Golden Globe Award for Best Actor Motion Picture Musical or Comedy Woody Allen nominee Saturn Award for Best Direction nominee New York Film Critics Circle Award for Best Cinematography winner Kansas City Film Critics Circle Award for Best Supporting Actress Mia Farrow winner tied with Linda Hunt for The Year of Living Dangerously Belgian Film Critics Association Grand Prix winner David di Donatello Award for Best Foreign Actor Allen winner Venice Film Festival Pasinetti Award for Best Film winner Bodil Award for Best Non European Film winner Soundtrack editLeonard the Lizard 1983 Composed by Dick Hyman Sung by Bernie Kuce Steve Clayton and Tony Wells Doin the Chameleon 1983 Composed by Dick Hyman Sung by Bernie Kuce Steve Clayton and Tony Wells Chameleon Days 1983 Composed by Dick Hyman Performed by Mae Questel You May Be Six People But I Love You 1983 Composed by Dick Hyman Sung by Bernie Kuce Steve Clayton and Tony Wells Reptile Eyes 1983 Composed by Dick Hyman Sung by Rose Marie Jun The Changing Man Concerto 1983 Composed by Dick Hyman I ve Got a Feeling I m Falling 1929 Music by Fats Waller as Thomas Fats Waller and Harry Link Sung by Roz Harris I m Sitting on Top of the World 1925 Music by Ray Henderson Sung by Norman Brooks Ain t We Got Fun 1921 Music by Richard A Whiting Performed by The Charleston City All Stars Sunny Side Up 1929 Music and Lyrics by Ray Henderson Lew Brown and Buddy G DeSylva Performed by The Charleston City All Stars I ll Get By 1928 Music by Fred E Ahlert Performed by The Ben Bernie Orchestra I Love My Baby My Baby Loves Me 1925 Music by Harry Warren Performed by The Charleston City All Stars Runnin Wild 1922 Music by A H Gibbs Performed by The Charleston City All Stars A Sailboat in the Moonlight 1937 Written by Carmen Lombardo and John Jacob Loeb as John Loeb Performed by The Guy Lombardo Orchestra Charleston 1923 Music by James P Johnson Performed by Dick Hyman Chicago That Toddlin Town 1922 Written by Fred Fisher Performed by Dick Hyman Five Feet Two Eyes of Blue 1925 Music by Ray Henderson Performed by Dick Hyman Anchors Aweigh 1906 Music by Charles A Zimmerman Modified by Domenico Savino 1950 Performed by Dick Hyman Take Me Out to the Ballgame 1908 Music by Albert von Tilzer The Internationale 1888 Music by Pierre De Geyter 24 See also editEnvironmental dependency syndrome The Belonging Kind The Pretender TV series References edit a b c d Zelig at Box Office Mojo Retrieved July 4 2016 Zelig 1983 British Film Institute Archived from the original on November 17 2018 Retrieved December 5 2018 Gabbard Glen O Gabbard Krin 1999 Psychiatry and the Cinema 2nd ed Arlington County Virginia American Psychiatric Publishing pp 264 265 ISBN 978 0 880 48964 5 Archived from the original on January 19 2018 Retrieved October 20 2016 Eudora Fletcher was the name of the principal of P S 99 in Brooklyn NY the elementary school Allen attended as a child My favourite Woody Allen movie Time Out Archived from the original on December 9 2018 Retrieved January 31 2017 Film critic David Jenkins who chose Zelig as his favorite notes the film s footage filmed on antique cameras recontextualised newsreel and shrewd use of blue screen technology Zelig The films of Woody Allen CBS Archived from the original on May 11 2017 Retrieved January 31 2017 Canby Vincent July 15 1983 FILM ZELIG WOODY ALLEN S STORY ABOUT A CHAMELEON MAN The New York Times Archived from the original on March 18 2021 Retrieved January 31 2017 Zelig Rotten Tomatoes Fandango Archived from the original on April 27 2019 Retrieved November 7 2022 Carby Vincent July 17 1983 Zelig 1983 WOODY ALLEN CONTINUES TO REFINE HIS CINEMATIC ART The New York Times New York Archived from the original on September 16 2012 Retrieved July 4 2012 Variety review Archived from the original on November 25 2009 Retrieved April 20 2020 Christian Science Monitor review The Christian Science Monitor August 18 1983 Archived from the original on January 25 2021 Retrieved December 30 2020 Huddleston Tom December 22 2011 January 4 2012 Zelig review Time Out New York Archived from the original on October 11 2020 Retrieved August 28 2013 TV Guide review Archived from the original on March 28 2019 Retrieved April 20 2020 Siskel Gene August 19 1983 Great filmmaking wasted on a disappointing film Chicago Tribune Section 6 p 3 Kael Pauline August 8 1983 The Current Cinema The New Yorker 84 Greenland Colin January 1984 Film Review Imagine review TSR Hobbies UK Ltd 10 37 Votes for Zelig 1983 Sight amp Sound British Film Institute Archived from the original on December 28 2019 Retrieved December 5 2018 Nashawaty Chris July 18 2016 Woody Allen Films Ranked 5 Zelig 1983 Entertainment Weekly Archived from the original on February 5 2017 Retrieved February 1 2017 Collin Robbie Robey Tim October 12 2016 All 47 Woody Allen movies ranked from worst to best The Daily Telegraph Archived from the original on January 18 2021 Retrieved February 1 2017 Marsh Calum July 21 2014 The 10 Best Woody Allen Movies Slant Archived from the original on November 20 2016 Retrieved February 1 2017 1984 Oscars org Archived from the original on April 17 2018 Retrieved April 7 2020 Sven Nykvist Win Cinematography 1984 Oscars YouTube Archived from the original on April 5 2020 Retrieved April 7 2020 Fanny amp Alexander Wins Costume Design and Art Direction 1984 Oscars YouTube Archived from the original on April 5 2020 Retrieved April 7 2020 Harvey Adam 2007 The Soundtracks of Woody Allen US Macfarland amp Company Inc p 148 ISBN 9780786429684 Bibliography editKarlinsky Harry October 2007 1983 Zelig Woody Allen s classic film continues to impact the world of psychiatry Zelig syndrome or Zelig like syndrome Canadian Psychiatric Association 3 5 Archived from the original on August 15 2013 Retrieved January 3 2017 a href Template Cite journal html title Template Cite journal cite journal a CS1 maint bot original URL status unknown link King Mike 2016 2008 Zelig and the Narcissism of the Other Directed Person pp 166 167 The American Cinema of Excess Extremes of the National Mind on Film Scotts Valley California On Demand Publishing LLC Create Space ISBN 978 0 995 64801 2 Sickels Robert 2014 2005 Chapter 11 It Ain t the Movies It s Real Life Cinematic Alchemy in Woody Allen s Woody Allen D M oc k umentary Oeuvre pp 179 190 In Rhodes Gary D Springer John Parris eds Docufictions Essays on the Intersection of Documentary and Fictional Filmmaking Jefferson North Carolina McFarland ISBN 978 1 476 61049 8 External links edit nbsp Wikiquote has quotations related to Zelig Zelig at IMDb nbsp Zelig at AllMovie nbsp Zelig at the American Film Institute Catalog Retrieved from https en wikipedia org w index php title Zelig amp oldid 1180217795, wikipedia, wiki, book, books, library,

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