Woody Allen's 'Sweet and Lowdown' has received great critical acclaim, 1not least in the perceptive review of it by Jonathan Romney. 2But not even he has discussed the aspect of the film I found the most intriguing.
That 'Interiors' was made as a tribute to Bergman was immediately recognised, but no review I have seen has pointed out that 'Sweet and Lowdown' reflects not only Allen's love of jazz, but also his love for Fellini. In this case, the homage takes the form of appropriating and reworking the plotline of 'La Strada (1954)'.
Samantha Morton's superb performance as the mute Hattie in Allen's film has caused comparisons to be made with the blind heroine of Chaplin's 'City Lights (1931)', but it's even more relevant to recall that Giulietta Masina's Gelsomina in 'La Strada' was also Chaplinesque. Both Hattie and Gelsomina are loveable characters with more than a touch of simple-mindedness, and each is exploited by a travelling performer, the man they love. What makes this more than a passing parallel is the fact that both films 3lead to the same conclusion, a scene in which the man comes to the belated realisation that the woman he abandoned had been the love of his life, and also discovers that he has lost her.
If I found 'Sweet and Lowdown' immensely fascinating without being wholly satisfying, it was because I was at once convinced that it is a variation on a film which cannot be matched, and which for me is Fellini's greatest.
(Fonte: Sight and Sound, August 2000)
O verbo "lead" (ref. 3) forma o passado e o particípio passado do mesmo modo que