79 reviews
The Front tells the story of an average Joe Loser whose friend, a blacklisted television writer asks for his identity so he can continue working. Thus begins not only an acceptable scam, but a personal odyssey for this man, played by Woody Allen. He begins to be become a `front' for other blacklisted writers as well, presenting their material as his own. His evolution is such that while he began to do this mainly for his own profit, he ends up taking a stand on behalf of the blacklisted artists he knows and along the way, finding his own relevance in life.
While starring Woody Allen, the film was directed by Martin Ritt, a blacklisted artist himself. Additionally, it featured a blacklisted writer and several blacklisted actors, including Zero Mostel. There are definite comedic moments in the film, but they are generally limited to a line or the facial expression of a character, therefore I consider this to be a largely dramatic film. (Albeit light drama). Making a comedy about HUAC (House Un-American Activities Committee) and the Hollywood Blacklist is like offering a comedy about the Salem Witch Trails. Both events involved the destruction of the lives of the victims due to the paranoia and hysteria of their contemporary societies and neither subject is comic fodder.
Of the films centering on HUAC that I have seen, The Front is by far the most representative and most meaningful I have seen to date. The Front is a very important chronicle of a dark period in 20th century history and deserves the many accolades it has received.
--Shelly
While starring Woody Allen, the film was directed by Martin Ritt, a blacklisted artist himself. Additionally, it featured a blacklisted writer and several blacklisted actors, including Zero Mostel. There are definite comedic moments in the film, but they are generally limited to a line or the facial expression of a character, therefore I consider this to be a largely dramatic film. (Albeit light drama). Making a comedy about HUAC (House Un-American Activities Committee) and the Hollywood Blacklist is like offering a comedy about the Salem Witch Trails. Both events involved the destruction of the lives of the victims due to the paranoia and hysteria of their contemporary societies and neither subject is comic fodder.
Of the films centering on HUAC that I have seen, The Front is by far the most representative and most meaningful I have seen to date. The Front is a very important chronicle of a dark period in 20th century history and deserves the many accolades it has received.
--Shelly
I don't profess to know anything more about 'the McCarthy era' than any other non-American that wasn't around in the fifties, but this film serves as both a great slice of entertainment; and something of a history lesson. The film is said to be a comedy, although it would seem to be played out more for the drama side as aside from Woody Allen's usual neurotic quips; there aren't actually any jokes in the film. That certainly doesn't harm it, however, as Martin Ritt's film has more than enough in reserve, as the story is interesting enough on it's own; and themes of 'the witch-hunt', as well as the idea of being guilty until proved innocent shine through. The story follows Howard Prince (Woody Allen) a cashier who, when asked by his friend who is on the 'blacklist', poses as a TV writer so the blacklisted writer can still work. The film takes place in the time when paranoia over communism was rife in America, and anyone that is suspected of associating with communists was no longer allowed to work. The scam goes on, but the more Prince is dragged into it, the harder it is for him to get out.
Like I say, I didn't know much about the era before going into the film; but I'm sure it's an important part of American history; if only for the fact that it's inspired a lot of great films, including the great original version of 'Invasion of the Body Snatchers'. I've been a big fan of Woody Allen ever since I first saw one of his films, and his performance here takes in all the best elements of his persona. The character; a talentless man garnering praise for someone else's work, suits Allen's personality like a glove, as the paranoid actor gets to show us how neurotic he can be. Support comes by way of the likes of Zero Mostel, Michael Murphy and Andrea Marcovicci; and all give nice supporting performances. Director Michael Ritt ensures that the themes of the story are always rife, as the film presents a great sense of foreboding, and scenes such as the one that see an innocent writer told that he can't be got off the hook because he hasn't done anything help to ensure this. On the whole, The Front is a great classic film, and sees Allen in one of his best roles.
Like I say, I didn't know much about the era before going into the film; but I'm sure it's an important part of American history; if only for the fact that it's inspired a lot of great films, including the great original version of 'Invasion of the Body Snatchers'. I've been a big fan of Woody Allen ever since I first saw one of his films, and his performance here takes in all the best elements of his persona. The character; a talentless man garnering praise for someone else's work, suits Allen's personality like a glove, as the paranoid actor gets to show us how neurotic he can be. Support comes by way of the likes of Zero Mostel, Michael Murphy and Andrea Marcovicci; and all give nice supporting performances. Director Michael Ritt ensures that the themes of the story are always rife, as the film presents a great sense of foreboding, and scenes such as the one that see an innocent writer told that he can't be got off the hook because he hasn't done anything help to ensure this. On the whole, The Front is a great classic film, and sees Allen in one of his best roles.
The Front (1976)
Deeply serious and sometimes hilarious, Martin Ritt makes an improbable critique of McCarthyism using several once-blacklisted actors and Woody Allen, then at one of his peaks of fame.
Allen, though, is limited by his role, and seems to be Woody Allen rather than one of his more exaggerated characters. Some of his lines seem written by him, rather than just for him, which would be appropriate (people writing under assumed names). The real star of the show is Zero Mostel as a blacklisted comic actor. He plays it straight and zany with equal power, a real joy.
Most of all is the point--that we can't forget how insidious this kind of spying and lying and persecution can get, so that even well meaning people go along as a matter of fear, or expedience, or just laziness. We'd like to think we wouldn't fall for a new McCarthy, but I think we very well might, in some new form, and sooner than we'd like. Movies like this (and Good Night and Good Luck) might forestall it. While not a work of terrible originality or genius, it's completely enjoyable and worth the time.
Deeply serious and sometimes hilarious, Martin Ritt makes an improbable critique of McCarthyism using several once-blacklisted actors and Woody Allen, then at one of his peaks of fame.
Allen, though, is limited by his role, and seems to be Woody Allen rather than one of his more exaggerated characters. Some of his lines seem written by him, rather than just for him, which would be appropriate (people writing under assumed names). The real star of the show is Zero Mostel as a blacklisted comic actor. He plays it straight and zany with equal power, a real joy.
Most of all is the point--that we can't forget how insidious this kind of spying and lying and persecution can get, so that even well meaning people go along as a matter of fear, or expedience, or just laziness. We'd like to think we wouldn't fall for a new McCarthy, but I think we very well might, in some new form, and sooner than we'd like. Movies like this (and Good Night and Good Luck) might forestall it. While not a work of terrible originality or genius, it's completely enjoyable and worth the time.
- secondtake
- Apr 3, 2010
- Permalink
It's the 1950's, and Senator Joseph McCarthy has whipped America and especially Hollywood into an anti-communitst frenzy. Anyone who ever had ties to the left wing is persecuted and denied employment. Which means a big opportunity for Woody Allen (acting only, he didn't write or direct) to make a few bucks selling scripts written by blacklisted writers, being the "Front" of the title. Little does he know what he's getting into. Woody's masquerade starts as a favor to a pal in trouble and a chance for easy money, but it quickly snowballs into serious involvement with some very ugly things.
Great script and excellent performances by Allen and Andrea Marcovicci, but the film is lifted to terrifying heights by the magnificent Zero Mostel as a blacklisted comic. Every indignity and loss he faces is reflected in his wonderful face with a terrible sweet-natured dignity, you can see the weariness and hopelessness growing in his eyes scene by scene. His tragedy changes the lives of all the other characters, and makes the film the fine thing that it is.
There's a lot of wit and black humor in this film, but overall it's a very affecting tragedy, one with a fine, strong, yet hopeful ending.
Great script and excellent performances by Allen and Andrea Marcovicci, but the film is lifted to terrifying heights by the magnificent Zero Mostel as a blacklisted comic. Every indignity and loss he faces is reflected in his wonderful face with a terrible sweet-natured dignity, you can see the weariness and hopelessness growing in his eyes scene by scene. His tragedy changes the lives of all the other characters, and makes the film the fine thing that it is.
There's a lot of wit and black humor in this film, but overall it's a very affecting tragedy, one with a fine, strong, yet hopeful ending.
A fascinating film about blacklisting in the entertainment industry, the material does feel rather dry but the ideas are good and the quality of the acting pushes it through when nothing else does. Michael Murphy plays his character in a very human and realistic manner, and the performers are all round well suited, although Allen goes for comedy whereas everything else is in dramatic mode. The film is weighed down in fact by unevenness between comedy and drama throughout, however it is not entirely Allen's fault. Ritt's direction seems somewhat patchy with varying tones throughout. I definitely wouldn't call this a great film - or at least I can't say that I liked it a lot - but it still did have enough in it to keep me interested until the end.
Fictionalized look about the 1950s blacklist. Woody Allen (in a rare dramatic role) plays a man who sells the scripts of blacklisted writers under his name. He splits the proceeds with the writers. He's apolitical--he's just doing it to help friends. Then he starts to see how horrible the blacklist is and how it's destroying people and careers. He wants to take a stand--but how can he?
This is often mentioned as being a comedy. In that respect, it fails. There was nothing funny about the blacklist. But, as a drama with light moments, it works. It moves quickly, is well written (by a former blacklisted writer), well-directed (by another blacklisted man) and stars two blacklisted actors! Basically these people know what happened so that actually helps. Allen is surprisingly good in a dramatic role--who knew he had it in him? He tones down all his mannerisms and delivers a very controlled, nicely done job. Andrea Marcovicci (whatever happened to her?) is also good playing his girlfriend. And Michael Murphy is excellent as one of the blacklisted writers. And Zero Mostel is just superb as a blacklisted actor. The pain and confusion shows plainly on his face. This was also one of his last films---he died 2 years later of a heart attack. Also look for Danny Aiello in a small role. The 1950s era is captured beautifully, the film looks great and they have Frank Sinatra singing (ironically) "Young at Heart" at the beginning and end of the film. Great final line too.
But I'm only giving this a 9. The script is good but a little too simplistic and painted in very broad strokes. The bad guys are evil to the core and all the blacklisted people are shown as being victims. That's NOT how it was. They were probably writing down to appeal to a mainstream audience but went too far.
This bombed badly back in 1976--it's easy to see why. The subject matter is too strong for most audiences and the movie company (I heard) was completely at a loss on how to deal with this. Just a year before an entire blacklisting sequence was cut from "The Way We Were". Sadly Hollywood was STILL touchy about this subject in the 1970s.
This should be seen by more people--it really deserves to be discovered. A lot of people don't even KNOW about the blacklist. Well worth seeing.
This is often mentioned as being a comedy. In that respect, it fails. There was nothing funny about the blacklist. But, as a drama with light moments, it works. It moves quickly, is well written (by a former blacklisted writer), well-directed (by another blacklisted man) and stars two blacklisted actors! Basically these people know what happened so that actually helps. Allen is surprisingly good in a dramatic role--who knew he had it in him? He tones down all his mannerisms and delivers a very controlled, nicely done job. Andrea Marcovicci (whatever happened to her?) is also good playing his girlfriend. And Michael Murphy is excellent as one of the blacklisted writers. And Zero Mostel is just superb as a blacklisted actor. The pain and confusion shows plainly on his face. This was also one of his last films---he died 2 years later of a heart attack. Also look for Danny Aiello in a small role. The 1950s era is captured beautifully, the film looks great and they have Frank Sinatra singing (ironically) "Young at Heart" at the beginning and end of the film. Great final line too.
But I'm only giving this a 9. The script is good but a little too simplistic and painted in very broad strokes. The bad guys are evil to the core and all the blacklisted people are shown as being victims. That's NOT how it was. They were probably writing down to appeal to a mainstream audience but went too far.
This bombed badly back in 1976--it's easy to see why. The subject matter is too strong for most audiences and the movie company (I heard) was completely at a loss on how to deal with this. Just a year before an entire blacklisting sequence was cut from "The Way We Were". Sadly Hollywood was STILL touchy about this subject in the 1970s.
This should be seen by more people--it really deserves to be discovered. A lot of people don't even KNOW about the blacklist. Well worth seeing.
Opening with wonderfully nostalgic and amusing newsreel footage from the early 1950s (coupled with Frank Sinatra's buttery vocal on "Young at Heart"), director Martin Ritt quickly makes his intentions clear that these innocent signposts of the era belied a much different feeling in the climate of the country: creeping paranoia on the show business front, in Senator McCarthy's gorgon-like attempt to make America "pure". Woody Allen plays a New York City deli-cashier who helps out three TV writers, blacklisted for being Communist sympathizers, by letting them use his name on their scripts...but when the critical kudos arrive, the witchhunt closes in. Despite some very funny asides, the panic of the time is highly palpable, and "The Front" isn't a light-hearted vehicle for Allen by any means (nor does it become overly-messagey). Expertly written by Walter Bernstein and directed by Ritt (both blacklist victims for real). Woody very fine in a non-farcical performance. *** from ****
- moonspinner55
- Mar 1, 2007
- Permalink
Martin Ritt's and Walter Bernstein's excellent and very entertaining revenge film! Woody Allen is a bookie/restaurant cashier who, in order to help out a blacklisted writer-friend, agrees to front for him. Previously oblivious to the horrors of the blacklist, Allen soon realizes that people are not only unable to work, but are literally being destroyed. Director Ritt and screenwriter Bernstein, both victims of the '50s communist witch-hunt, exact their revenge by creating a character who, for all intent and purposes, is an everyman --- one capable of telling the government to go "F" itself! The large cast --- some of whom were also blacklisted --- is splendid. Herschel Bernardi, Lloyd Gough, Michael Murphy, and, best of a ll, Zero Mostel offer great support and Allen, in a rare acting only role, manages to give what is arguably his best screen performance. He brings his humor --- it's hard to believe some his dialogue, particularly in his scenes with leading lady Andrea Marcovicci --- isn't ad libbed, but also creates his deepest characterization. He's especially powerful when he attends the funeral of a blacklisted friend.
- JasparLamarCrabb
- Sep 17, 2005
- Permalink
- mark.waltz
- Nov 6, 2016
- Permalink
SPOILER: Woody Allen acts but does not direct this excellent depiction of the McCarthy Era blacklisting in "The Front."
He plays his typical neurotic way until he is asked to front for blacklisted writers. The money comes in and all is well for Allen.
We meet the people that he is fronting for. We also meet Zero Mostel, in an excellent supporting role, as a blacklisted comedian, Hecky Green, who begs for work and throws himself out a window as a result.The scene where Allen is afraid to attend his funeral, since the FBI is taping who is entering the funeral parlor, is memorable.
Allen is asked to appear before the House UnAmerican Activities Committee to name names. What he said in that scene will forever be etched in the minds of movie-goers.
A marvelously, well-acted movie on one of the greatest tragedies in our nation's history. This movie dealt with how blacklisting ruined the lives of so many people in the entertainment industry.
Walter Bernstein, who was blacklisted in real life, wrote the screenplay for this film. No wonder why it was so good. He wrote from personal experience and therefore from the heart.
He plays his typical neurotic way until he is asked to front for blacklisted writers. The money comes in and all is well for Allen.
We meet the people that he is fronting for. We also meet Zero Mostel, in an excellent supporting role, as a blacklisted comedian, Hecky Green, who begs for work and throws himself out a window as a result.The scene where Allen is afraid to attend his funeral, since the FBI is taping who is entering the funeral parlor, is memorable.
Allen is asked to appear before the House UnAmerican Activities Committee to name names. What he said in that scene will forever be etched in the minds of movie-goers.
A marvelously, well-acted movie on one of the greatest tragedies in our nation's history. This movie dealt with how blacklisting ruined the lives of so many people in the entertainment industry.
Walter Bernstein, who was blacklisted in real life, wrote the screenplay for this film. No wonder why it was so good. He wrote from personal experience and therefore from the heart.
It's not his movie, though Woody Allen agreed to appear in this story about a group of writers and performers who become blacklisted in the early 1950's for being communist sympathizers. As the lowly cashier of a small restaurant, Howard Prince (Allen) is approached by his good friend Alfred Miller (Michael Murphy), who is a talented TV writer but has found himself out of work, rejected due to his communist leanings. Miller wants to hand off his scripts to Prince, using Howard as a front to pass them off as his own, and letting him take a percentage of the profits. Since Howard is in debt up to his eyeballs he accepts, and business becomes even more lucrative as other blacklisted talents request his services too. But things come to a head when Howard becomes confronted by a committee for UnAmerican Activities.
I don't usually care about politics one way or the other, but this was a rather strange and effective film, as it begins with a touch of comedy but eventually delves into more serious territory. Woody Allen has never been a great actor, but I liked watching him in what was something of a more dramatic departure for him. This also features Zero Mostel as a tragic actor who faces the wrath of the Red Scare himself, and Andrea Marcovicci as Allen's girl who falls for him when she thinks he's an actual writer. At the end of the film it is revealed that many of the cast and crew themselves had been blacklisted in the '50s. *** out of ****
I don't usually care about politics one way or the other, but this was a rather strange and effective film, as it begins with a touch of comedy but eventually delves into more serious territory. Woody Allen has never been a great actor, but I liked watching him in what was something of a more dramatic departure for him. This also features Zero Mostel as a tragic actor who faces the wrath of the Red Scare himself, and Andrea Marcovicci as Allen's girl who falls for him when she thinks he's an actual writer. At the end of the film it is revealed that many of the cast and crew themselves had been blacklisted in the '50s. *** out of ****
- JoeKarlosi
- Feb 5, 2009
- Permalink
- ShootingShark
- Mar 11, 2006
- Permalink
- ptjlmbaldwin
- Jan 7, 2010
- Permalink
It's amazing to me that it has been more than a quarter of a century since this movie was made. I think at the time the movie was made it was said that it could not have been made before then because of the controversy; "Hollywood" would not have allowed it to be made.
This movie is of historical significance because it is based on reality; a reality that seems impossible now. I saw this movie in a theater in which another movie was shown first. The first movie was a documentary of the search for communists and the real-life story preceding the fictional portrayal of the same thing was a powerful combination.
I think this movie must be seen by all to see how unreasonable people can be if we are too intolerant.
This movie is of historical significance because it is based on reality; a reality that seems impossible now. I saw this movie in a theater in which another movie was shown first. The first movie was a documentary of the search for communists and the real-life story preceding the fictional portrayal of the same thing was a powerful combination.
I think this movie must be seen by all to see how unreasonable people can be if we are too intolerant.
Woody Allen has always had the power to make people laugh. However in 1976, he allowed his serious side to shine as he played Howard Prince a down-on-his-luck average guy. The movie, " The Front " tells the story of a simple unemployed man, financially strapped who is asked by Black listed writer Alfred Miller (Michael Murphy) to submit a play to the Television studios, using his own name. With little concern, Howard does and is surprisingly accepted and paid. In time, other writers give him additional plays and for a percentage of their royalties, Howard gets the credit. He is so successful he comes to the attention of HUAC (House on UnAmerican Committee) and is asked to co-operate by revealing names of friends who may be affiliated with communists organizations. One of his friends is comedian is 'Hecky Brown' (Zero Mostel) a likable and struggling comic who tries to stay out of trouble but is threatened, coerced and driven to suicide by the powerful yet nameless shadowy men working for Joseph MaCarthy. Howard Prince is no writer, but he is a man of courage and conviction who exemplifies the courage necessary to combat the malignant evil which can arise when dark powers such as Senator MaCarthy go unchecked. Allen is superb and for his effort has given this movie the status of a social Classic which stands of its own accord. ****
- thinker1691
- Apr 2, 2009
- Permalink
In the 50's, in New York City, the screenplay writer Alfred Miller (Michael Murphy) meets his apolitical friend, the cashier of restaurant and smalltime bookmaker Howard Prince (Woody Allen) and tells him that he can not work anymore since he is blacklisted. Prince offers to sell his scripts to the producer of a TV station using his own name and Alfred offers a 10% commission to Prince.
Prince uses the money to pay his debts and improve his life and soon he offers his name to two other blacklisted writers. Meanwhile he dates the TV screenplay editor Florence Barrett (Andrea Marcovicci). When the veteran actor Hecky Brown (Zero Mostel) is blacklisted and fired by the producer Phil Sussman (Herschel Bernardi), the idealistic Florence quits her job. But when Hecky Brown commits suicide, Prince takes a stand against the unjust system.
Today I have just watched "The Front" on VHS maybe for the third or fourth time (last time was on 31 May 2002). This fairytale about the dark period of the North America history known as McCarthyism is wrongly categorized as "comedy" and is actually one of the most important and a serious movie by Woody Allen that perfectly works with the situation of a figurehead that realizes the damage caused by the Powers that Be to the careers and lives of his compatriots and decides to react against them.
Another attraction is that the director Martin Ritt; the writer Walter Bernstein and the stars Zero Mostel, Herschel Bernardi and Lloyd Gough had been blacklisted in the 50's. My vote is eight.
Title (Brazil): "Testa de Ferro por Acaso" ("Figurehead by Chance")
Prince uses the money to pay his debts and improve his life and soon he offers his name to two other blacklisted writers. Meanwhile he dates the TV screenplay editor Florence Barrett (Andrea Marcovicci). When the veteran actor Hecky Brown (Zero Mostel) is blacklisted and fired by the producer Phil Sussman (Herschel Bernardi), the idealistic Florence quits her job. But when Hecky Brown commits suicide, Prince takes a stand against the unjust system.
Today I have just watched "The Front" on VHS maybe for the third or fourth time (last time was on 31 May 2002). This fairytale about the dark period of the North America history known as McCarthyism is wrongly categorized as "comedy" and is actually one of the most important and a serious movie by Woody Allen that perfectly works with the situation of a figurehead that realizes the damage caused by the Powers that Be to the careers and lives of his compatriots and decides to react against them.
Another attraction is that the director Martin Ritt; the writer Walter Bernstein and the stars Zero Mostel, Herschel Bernardi and Lloyd Gough had been blacklisted in the 50's. My vote is eight.
Title (Brazil): "Testa de Ferro por Acaso" ("Figurehead by Chance")
- claudio_carvalho
- Sep 24, 2012
- Permalink
Zero Mostel and Woodrow Allen deliver the GOODS in this movie about Woody Allen who tenders scrips to the network that blacklisted writers gave to him. This was a great movie that had Zero Motel, it was his final film. Zero died the next year. On this shoot, Zero was nice to work with. His character killed himself which was sad. I wish that this blacklist stuff never happened. The girl that Woody dated was very pretty. It was Norman Rose, Woody's lawyer, that was super good. I was shocked about how GOD LIKE his voice was. Not much else is on TV tonight. I had nachos and beer before watching this movie. I hope to get more Woody movies in the near future? Haha. Just kidding, I am insane.
Woody Allen is "The Front" for blacklisted television writers in the 1950s in a film also starring Zero Mostel, Herschel Bernardi, Andrea Marcovicci, and Michael Murphy. Several of the film's participants - director Ritt, writer Bernstein, actors Bernardi and Mostel, were themselves blacklisted.
Woody's character, Howard Prince, has moments of humor, but "The Front" is a drama, and a very good one. Prince agrees to front for a writer-friend and later takes on other blacklisted writers for money. Then comes the day that Prince himself is subpoenaed by the committee, and he has to make a decision about where he stands.
Along the way, Howard falls in love with a principled woman, Marcovicci, who becomes disgusted with the blacklist and quits her television job, and a pathetic comedian, Zero Mostel, who claims to have marched in a May Day parade and subscribed to a communist newspaper because he had a crush on a girl. Then he watches his career shrivel up.
I grew up in the '50s and remember the Red Scare very well, as in school we were always told that the Communists were coming. In Hollywood and Washington, it was believed that the Communists were here infiltrating our government, films, and television. Whether it was true or not is a separate issue from the persecution and hysteria that took place. Actress Lee Grant, for instance, was blacklisted because she went to a funeral of someone who had been accused of being a Communist. John Garfield, Kim Hunter, Gale Sondergaard, Mady Christians, Larry Parks - just a few of the actors blacklisted. There are many examples of people whose careers and lives were ruined because they had once attended a meeting to see what this political ideology was all about, or had a friend who was a Communist. Land of the free indeed.
Woody's character, Howard Prince, has moments of humor, but "The Front" is a drama, and a very good one. Prince agrees to front for a writer-friend and later takes on other blacklisted writers for money. Then comes the day that Prince himself is subpoenaed by the committee, and he has to make a decision about where he stands.
Along the way, Howard falls in love with a principled woman, Marcovicci, who becomes disgusted with the blacklist and quits her television job, and a pathetic comedian, Zero Mostel, who claims to have marched in a May Day parade and subscribed to a communist newspaper because he had a crush on a girl. Then he watches his career shrivel up.
I grew up in the '50s and remember the Red Scare very well, as in school we were always told that the Communists were coming. In Hollywood and Washington, it was believed that the Communists were here infiltrating our government, films, and television. Whether it was true or not is a separate issue from the persecution and hysteria that took place. Actress Lee Grant, for instance, was blacklisted because she went to a funeral of someone who had been accused of being a Communist. John Garfield, Kim Hunter, Gale Sondergaard, Mady Christians, Larry Parks - just a few of the actors blacklisted. There are many examples of people whose careers and lives were ruined because they had once attended a meeting to see what this political ideology was all about, or had a friend who was a Communist. Land of the free indeed.
Woody Allen acts in a film that he did not direct. While he did this early in his career, at this stage it was unusual. I imagine this was an opportunity to tell Hollywood off for what it did during the McCarthy era (see "Trumbo" if you get a chance). Woody's character is a kind of ghost writer, a "Front." He assists blacklisted writers in getting their work produced. They have been labeled communists. He works away, successfully, but then his integrity works its way into his being. What can he do stop this without sacrificing his work. There were these "Fronts" around and it allowed Hollywood not to stagnate any further. This film has an incredibly fine conclusion. This movie caught me by surprise.
The Front isn't on my high list of Woody Allen movies to recommend, but then he didn't write and direct it. It was directed by Martin Ritt and Walter Bernstein, very talented (and as Ritt says, talent with something to show for it), and also previously black-listed. They have here fashioned a somewhat conventional tragic-comedy about the dilemma of the potential squealer in people in the entertainment world, but a squealer for gain of the committee at the time that wanted to get the names more based on the principle of it than actually having the names for a purpose. The symbol of the blacklist in the world of TV and movies made for a wretched one for anyone just remotely connected with it. And it's this that Ritt and Bernstein get at with the story of Howard Prince (Allen), who acts as a 'front', a middle-man for a friend (Michael Murphy) and then his fellow writers who need to get work somehow. It soon works quite well, even a she sees alongside him a famous, clownish actor (Zero Mostel) getting the harshest treatment of all- and for an actor a blacklisting that will stick harder than he can imagine.
There are the moments of humor that get struck up (the concentration camp joke with the tie-in to the gas company is very funny), and for Allen it's definitely a part made tailor made for him, if not a whole picture as such. He is, per usual, playing a 'version' of his character, in this case an illiterate who fumbles and lies his way into being the top listed writer Howard Prince as opposed to the indebted-to-betting cashier, and it (naturally) involves a woman too. This part is a little more hit or miss in believability, and inevitably leads Prince to have to be questioned before the committee, with the big question looming 'what to do.' This has been seen in several films since, even if at the time it must've seemed like something new. On the other hand, the most tragic section of the picture comes with Mostel's character, and Mostel's performance brings out some of the best in range he has to offer, with bits of the gleeful insanity from the Producers, but a more pragmatic side too. The guy's got to work, and this is made painfully clear in the scene where the club owner wont give him the money promised. The character also has to contend with the greatest pressure of all, though more than just that. It easily raises the Front from being well done but slight to being something memorable; it's practically unfathomable that he didn't get a nomination for best supporting actor for anything aside from one.
Featuring a sweet book-ending with an opening montage with the "50's" put to Frank Sinatra, and then an incredible ending with Prince at the questioning (which actually shows Allen to be a really gifted actor), it's an even better film to see if you're after the subject matter- it's a fascinating, dark period in American history where such a term as 'Un-American' could be used as a pathological excuse during the Cold-War. As drama and comedy, however, it is really just a good movie, no more no less, with occasional brilliance. 7.5/10
There are the moments of humor that get struck up (the concentration camp joke with the tie-in to the gas company is very funny), and for Allen it's definitely a part made tailor made for him, if not a whole picture as such. He is, per usual, playing a 'version' of his character, in this case an illiterate who fumbles and lies his way into being the top listed writer Howard Prince as opposed to the indebted-to-betting cashier, and it (naturally) involves a woman too. This part is a little more hit or miss in believability, and inevitably leads Prince to have to be questioned before the committee, with the big question looming 'what to do.' This has been seen in several films since, even if at the time it must've seemed like something new. On the other hand, the most tragic section of the picture comes with Mostel's character, and Mostel's performance brings out some of the best in range he has to offer, with bits of the gleeful insanity from the Producers, but a more pragmatic side too. The guy's got to work, and this is made painfully clear in the scene where the club owner wont give him the money promised. The character also has to contend with the greatest pressure of all, though more than just that. It easily raises the Front from being well done but slight to being something memorable; it's practically unfathomable that he didn't get a nomination for best supporting actor for anything aside from one.
Featuring a sweet book-ending with an opening montage with the "50's" put to Frank Sinatra, and then an incredible ending with Prince at the questioning (which actually shows Allen to be a really gifted actor), it's an even better film to see if you're after the subject matter- it's a fascinating, dark period in American history where such a term as 'Un-American' could be used as a pathological excuse during the Cold-War. As drama and comedy, however, it is really just a good movie, no more no less, with occasional brilliance. 7.5/10
- Quinoa1984
- Feb 4, 2007
- Permalink
It seems almost impossible to believe that in the early Fifties there was such a thing as a blacklist. The best summation of this whole situation I ever heard was that there is no use blaming the various people in the film and television industry who worked at their craft, in front or behind the camera. Blame the studio heads who just knuckled under to a bunch or corrupt politicians who were looking to exploit the situations.
Players went to the stage where the blacklist did not exist or to foreign countries to work. But writers submitted a lot of work under pseudonyms. So Woody Allen playing his usual schlepp role is approached by a friend he goes way back with to become a front, to take credit for writing scripts for 10% of the salary. Woody who has a real gambling problem with Danny Aiello looking to break his legs for unpaid debts decides this could prove lucrative and some other writers start using him as a front as well.
Of course he does come to the thought police at the House Un-American Activities Committee and eventually responds to the whole business in a singularly appropriate manner. If some of the bigger fish in Hollywood had done the same, there would never have been a blacklist. As it was the blacklist kind of ran out of steam in the Sixties, but not before a lot of lives had been ruined.
One of those lives was Zero Mostel who gave a farewell performance as comedian Hecky Brown who was blacklisted as was Mostel in real life. Mostel in fact gave said singular response in real life and it cost him. But not as much as his character in The Front.
Mostel was one of many involved in The Front who were blacklisted back in the bad old days. I'm glad Zero and the rest lived long enough and outlasted the blacklist to make this wonderful entertaining and educational film about a really bad time.
Players went to the stage where the blacklist did not exist or to foreign countries to work. But writers submitted a lot of work under pseudonyms. So Woody Allen playing his usual schlepp role is approached by a friend he goes way back with to become a front, to take credit for writing scripts for 10% of the salary. Woody who has a real gambling problem with Danny Aiello looking to break his legs for unpaid debts decides this could prove lucrative and some other writers start using him as a front as well.
Of course he does come to the thought police at the House Un-American Activities Committee and eventually responds to the whole business in a singularly appropriate manner. If some of the bigger fish in Hollywood had done the same, there would never have been a blacklist. As it was the blacklist kind of ran out of steam in the Sixties, but not before a lot of lives had been ruined.
One of those lives was Zero Mostel who gave a farewell performance as comedian Hecky Brown who was blacklisted as was Mostel in real life. Mostel in fact gave said singular response in real life and it cost him. But not as much as his character in The Front.
Mostel was one of many involved in The Front who were blacklisted back in the bad old days. I'm glad Zero and the rest lived long enough and outlasted the blacklist to make this wonderful entertaining and educational film about a really bad time.
- bkoganbing
- Dec 21, 2011
- Permalink
The darkest side of Hollywoodhistory was indeed the McCarthy-area at where everyone was banned from the moment he had sympathy for the Communists in Russia. It might have been a cold war without real attacks but paranoia never was so big as before and it's good to see some filmmakers who were back then the victim of the McCarthy-law (Martin Ritt, Zero Mostel and many others) joining hands to make The Front. You see how typical it is once politics are brainwashed by one movement as all others are accused, plus it is amazing to see how many careers were destroyed by doing virtually nothing...even reading a book by Dostojevski was something you better didn't do. The movie itself is an okay film that could have been better and for once you can't blame Woody Allen for it. It's perhaps one of the few movies in where you can see Allen as a normal actor...and for once there is a scene included in where there is no talk about some psychiatrist!
- Didier-Becu
- Mar 5, 2004
- Permalink
That's the way people under suspicion in the 1940s and 1950s felt. Job loss had to be weighed against self-incrimination and personal humiliation, or worse, the betrayal of close friendships.
That's also the way viewers of this film feel. The desire to praise a worthy effort has to be weighed against the necessity to discuss it honestly.
I recall the reviews this one received 25 years ago, but I'd never seen the film until tonight. What they said then still applies today. Everyone in the film is playing in a drama about the blacklist. Except Woody Allen. He's acting in a comedy. Punchline wins out over pathos. Together they're pulling on your heartstrings, alone he's tugging at your funnybone. There's no consistency of mood or tone.
The whole scenario is completely implausible. As written, the character of Woody the Cashier would make a successful front up to the moment he first opens his mouth.
I was anxious to get a closer look at those photos in F.X. Hennessey's office, the Republican Wall of Fame, starring Thomas Dewey and so on. But that was the full extent to which I got caught up in this story. It's a shame it wasn't told more honestly, i.e., without the laughs. Julius and Ethel Rosenberg appear at the beginning of the movie in the newsreel segment. I've met one of their sons. The 1950s don't hold a lot of laughter for him.
That's also the way viewers of this film feel. The desire to praise a worthy effort has to be weighed against the necessity to discuss it honestly.
I recall the reviews this one received 25 years ago, but I'd never seen the film until tonight. What they said then still applies today. Everyone in the film is playing in a drama about the blacklist. Except Woody Allen. He's acting in a comedy. Punchline wins out over pathos. Together they're pulling on your heartstrings, alone he's tugging at your funnybone. There's no consistency of mood or tone.
The whole scenario is completely implausible. As written, the character of Woody the Cashier would make a successful front up to the moment he first opens his mouth.
I was anxious to get a closer look at those photos in F.X. Hennessey's office, the Republican Wall of Fame, starring Thomas Dewey and so on. But that was the full extent to which I got caught up in this story. It's a shame it wasn't told more honestly, i.e., without the laughs. Julius and Ethel Rosenberg appear at the beginning of the movie in the newsreel segment. I've met one of their sons. The 1950s don't hold a lot of laughter for him.