Anyone familiar with the films of Allan Stewart Konigsberg (Allen's original name) will recognise his trademark features: the self-contained scenes embedded in the story, the double-entendre verbal jokes, the fake documentary tricks, the twisted dramatic turns, the subtle cultural references - and the self-flagellation. The latter he took from the world of stand-up, because in a world of colleagues prone to parody, slander, provocation and who knows what else, he is the chump. (If you watch Woody Allen's oeuvre, you'll get a short but useful Yiddish glossary.) And the references. The references by the jerk he plays are sometimes highly intellectual. This is the humour of the East Coast, New York, not Hollywood. The mad folding machine in the prison, for example, is a dramaturgical device, since our protagonist, Virgil Starkwell's wife, is a laundress, and it is a reference to Chaplin's film Modern Times. This is how it goes. Well, why should we be surprised if a little literary history, a little film history, a little bit of old world culture comes out of Woody Allen's films? In other words: take a sham bank robber who comes into conflict only with his parents, school, work, women, the cello, spelling and, of course, the law. Laugh all the way through! Then, from a different perspective, take a look at the guy whose glasses are broken by everyone and who wants to be accepted. Well, this is Woody Allen.

In English, with Hungarian subtitles.
The discussions before and after the screening will be conducted in Hungarian.

Presented by: Müpa Budapest