Woody Allen
Prendi I Soldi E Scappa

First experience as a director for Woody Allen. Year 1969.

Palomar Pictures was a small production company that didn't have major directors under contract. They were trying to make a name for themselves and asked Allen if he was capable of making a film with a small budget (at the time, less than a million dollars). Allen was already in the circuit as a theater screenwriter, and the production company decided to give him a chance as a director as well. In fact, they gave him carte blanche on everything, except for the possibility (an initial idea of Allen's to give the film a documentary depth) of shooting it in black and white.

The film still has a curious pseudo-documentary structure (there's a voice-over that narrates the events of the protagonist, a relentless rogue). It's the story of Virgil (Allen), who is nothing but a big coward (who repeatedly goes in and out of prison after failed thefts), fixated on women, inept, nervous, but kind-hearted: all things we've seen before in various forms, from Charlie Chaplin to Groucho Marx, similar characteristics are present, although in different forms. But the underlying structure is the same. In "Take the Money and Run," there is something psychoanalytic. The character doesn't attend analysis professionals, but in a documentary interview, a psychoanalyst will analyze his criminal behavior. A comedic film with ingenious and absurd elements. The actress Jane Margolin is beautiful in the role of the beloved. Two lines to note:

1) "Soon we'll have a child! The doctor told me. It will be my Christmas present."
"But a tie would have been enough for me!"

2) "After fifteen minutes, I knew I would love her for eternity, and after half an hour, I had completely given up on the idea of stealing her purse."

The original music by Marvin Hamlisch is splendid, a key element in bringing liveliness to scenes that seemed less amusing during editing. (It is not jazz but rather curious orchestral music with a psychedelic influence). The intervention of experienced editor Ralph Rosenblum was crucial in advising the still inexperienced New York director on which film shots were most impactful and which sound effects were best to integrate into the scenes.

An enjoyable film that outlines the very first style of Allen, who the following year would write "Bananas."