THE LAST UNICORN
1982, Conlan Press, 92 min, USA, Dir: Arthur Rankin Jr., Jules Bass

While directors Arthur Rankin Jr. and Jules Bass are best known for their stop-motion TV specials, they also did traditional cel work, and the Japanese animation house they used here would go on to become Studio Ghibli. Adapted by Peter S. Beagle from his novel, this touching fantasy features the voices of Alan Arkin, Jeff Bridges, Angela Lansbury, Christopher Lee and Mia Farrow as the titular creature on a magic-filled quest to find others of her kind. With music by Jimmy Webb and soft-rock hitmakers America.


ANOTHER WOMAN
1988, Park Circus/MGM, 81 min, USA, Dir: Woody Allen

With noisy construction going on where she lives, philosophy professor Marion Post (Gena Rowlands) rents a room in another building to complete her new book in peace. But now she’s next to a therapist’s office and can overhear the patients - among them an expectant mother (Mia Farrow) whose problems strike an unexpected chord with Marion. The top-flight supporting cast includes Gene Hackman, Blythe Danner, Ian Holm and, in his final film, John Houseman. This Bergman-esque drama (shot by Sven Nykvist) is among Allen’s most absorbing.


ZELIG
1983, Park Circus/MGM, 79 min, USA, Dir: Woody Allen

Woody Allen directs and stars as 1920s human chameleon Leonard Zelig, whose uncanny ability to mimic others brings him fame and the attentions of psychiatrist Eudora Fletcher (Mia Farrow). This mockumentary makes clever use of contemporary interviews (from such commentators as Susan Sontag and Saul Bellow) and vintage newsreel footage, tweaked to show Zelig interacting with historical figures such as Babe Ruth, Charles Lindbergh and Adolf Hitler. Santo Loquasto’s costume design and Gordon Willis’s cinematography both earned Oscar nominations. “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.” - Vincent Canby, The New York Times.


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