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Bullets Over Broadway (1994)

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1:51 | Trailer
In New York in 1928, a struggling playwright is forced to cast a mobster's talentless girlfriend in his latest drama in order to get it produced.

Director:

Woody Allen
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Won 1 Oscar. Another 20 wins & 24 nominations. See more awards »

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Cast

Cast overview, first billed only:
John Cusack ... David Shayne
Dianne Wiest ... Helen Sinclair
Jennifer Tilly ... Olive Neal
Chazz Palminteri ... Cheech
Mary-Louise Parker ... Ellen
Jack Warden ... Julian Marx
Joe Viterelli ... Nick Valenti
Rob Reiner ... Sheldon Flender
Tracey Ullman ... Eden Brent
Jim Broadbent ... Warner Purcell
Harvey Fierstein ... Sid Loomis
Stacey Nelkin ... Rita
Malgorzata Zajaczkowska ... Lili (as Margaret Sophie Stein)
Charles Cragin Charles Cragin ... Rifkin
Nina von Arx Nina von Arx ... Josette (as Nina Sonya Peterson)
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Storyline

1920s Broadway. Playwright David Shayne considers himself an artist, and surrounds himself with like minded people, most struggling financially as they create art for themselves, not the masses. David, however, believes the failure of his first two plays was because he gave up creative control to other people who didn't understand the material. As such, he wants to direct his just completed third play, "God of Our Fathers", insider scuttlebutt being that it may very well make David the toast of Broadway. With David having no directing history, David's regular producer, Julian Marx, can't find any investors,... until a single investor who will finance the entire production comes onto the scene. He is Nick Valenti, a big time mobster, with the catch being that his dimwitted girlfriend, non-actress Olive Neal, get the lead role. A hesitant David and Julian, who are able to talk Nick into them giving Olive one of the two female supporting roles instead, go along with the scheme hoping ... Written by Huggo

Plot Summary | Add Synopsis

Taglines:

The New Comedy From Woody Allen! See more »

Genres:

Comedy | Crime

Motion Picture Rating (MPAA)

Rated R for some language | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

24 February 1995 (USA) See more »

Also Known As:

Bullets Over Broadway See more »

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Box Office

Budget:

$20,000,000 (estimated)

Opening Weekend USA:

$86,072, 23 October 1994

Gross USA:

$13,383,747

Cumulative Worldwide Gross:

$13,383,747
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Dolby Stereo (Mono)

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Jennifer Tilly revealed on an interview given in 2017 that, when she found out that the Weinstein Company was pushing only Dianne Wiest for the Supporting Actress category at the Oscars, she orchestrated her own campaign in talk shows and buying ads to build buzz around her, which resulted in an Oscar nomination for her as well, something that the Weinsteins hated her for, she said. See more »

Goofs

When David stands in the street and argues with Sheldon Flender in the apartment above, a powerful floodlight on a technical-looking stand is reflected in the open window. See more »

Quotes

Olive: Why do you have to be so masso... masso...
David Shayne: Masochistic.
Olive: Masochistic? What the does that mean?
David Shayne: It means someone who enjoys pain.
Olive: Enjoys pain? What is she, *retarded*?
See more »

Connections

Referenced in The Ten (2007) See more »

Soundtracks

At The Jazz Band Ball
By Nick LaRocca & Larry Shields
Performed by Bix Beiderbecke
Courtesy of Columbia Records
By Arrangement with Sony Music Licensing
See more »

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User Reviews

 
Rollicking, rib-tickling 'Roaring 20s' comedy gem -- a diamond among the Woodman's recent rough.
21 November 2002 | by gbrumburgh-1See all my reviews

Sadly, I've been let down by most of Woody Allen's recent comedies. So it was most rewarding indeed to see the Woodman back again true to form (after a lengthy drought) with 1994's Bullets Over Broadway." Fun, foamy, and clever, it has everything we've come to love and expect from the man.

While "Take the Money and Run" and "Bananas" first turned trendy audiences on to his unique brand of improvisational, hit-and-miss comedy episodes, and the more neurotic, self-examining cult hits like "Annie Hall" and "Manhattan" cemented his Oscar-winning relationship with Hollywood, the comedy genius has stumbled mightily in this last decade. Attempting to contemporize his image with the coarse, foul-mouthed antics of a Coen or Farrelly brother (see "Mighty Aphrodite") is simply beneath him, and has been about as productive as Stevie Wonder taking a turn at hip-hop. Moreover, casting himself as a 65-year-old romantic protagonist with love interests young enough to be his grandchildren (see "Curse of the Jade Scorpion") has left a noticeably bad aftertaste of late. With "Bullets Over Broadway," however, Allen goes back to basics and wisely avoids the pitfalls of excessive toilet humor and self-aggrandizing casting, and gives us a light, refreshing bit of whimsical escapism. Woody may not be found on screen here, but his presence is felt throughout. Though less topical and analytical than his trademark films, this vehicle brings back a purer essence of Woody and might I say an early innocence hard-pressed to find these days in his work.

John Cusack (can this guy do no wrong?) plays a struggling jazz-era playwright desperate for a Broadway hit who is forced to sell out to a swarthy, aging king-pin (played to perfection by Joe Viterelli) who is looking to finance a theatrical showcase for his much-younger bimbo girlfirend (Jennifer Tilly, in a tailor-made role). The writer goes through a hellish rehearsal period sacrificing his words, not to mention his moral and artistic scruples, in order to appease his mob producers who know zilch about putting on a play. The rehearsal scenes alone are worth the price of admission.

Aside from Allen's clever writing, brisk pace and lush, careful attention to period detail, he has assembled his richest ensemble cast yet with a host of hysterically funny characters in spontaneous banter roaming in and about the proceedings. Cusack is his usual rock-solid self in the panicky, schelmiel role normally reserved for Woody. But even he is dwarfed by the likes of this once-in-a-lifetime supporting cast. Jennifer Tilly, with her doll-like rasp, is hilariously grating as the vapid, virulent, and thoroughly untalented moll. Usually counted on to play broad, one-dimensional, sexually belligerent dames, never has Tilly been give such golden material to feast on, putting her Olive Neal right up there in the 'top 5' fun-filled film floozies of all time, alongside Jean Hagen's Lina Lamont and Lesley Ann Warren's Norma Cassady. Virile, menacing Chazz Palminteri as the fleshy-lipped Cheech, a "dees, dem and dos" guard dog, reveals great comic prowess while affording his pin-striped hit man some touching overtones. Dianne Wiest, who has won bookend support Oscars in Woody Allen pictures (for this and for "Hannah and Her Sisters") doesn't miss a trick as the outre theatre doyenne Helen Sinclair, whose life is as grand and exaggerated off-stage as it is on. Her comic brilliance is on full, flamboyant display, stealing every scene she's in. Tracey Ullman is a pinch-faced delight as the exceedingly anal, puppy-doting ingenue, while Jim Broadbent as a fusty stick-in-the-mud gets his shining moments when his actor's appetite for both food and women get hilariously out of hand. Mary-Louise Parker, as Cusack's cast-off mate, gets the shortest end of the laughing stick, but lends some heart and urgency to the proceedings.

While the play flirts with a burlesque-styled capriciousness, there is an undercoating of seriousness and additional character agendas that keeps the cast from falling into one-note caricatures. And, as always, Woody's spot-on selection of period music is nonpareil. With healthy does of flapper-era Gershwin, Rodgers & Hart, Cole Porter, Hoagy Carmichael, not to mention the flavorful vocal stylings of Al Jolson and Eddie Cantor, Allen, with customary finesse, affectionately transports us back to the glitzy, gin-peddling era of Prohibition and slick Runyonesque antics.

I remember the times when the opening of a new Woody Allen film was a main event. As such, "Bullets Over Broadway" is a comedy valentine to such days. In any respect, it's a winner all the way, especially for Woodyphiles.


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