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Woody Allen - Wikipedia

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InAllen wrote the play Don't Drink the Water. Because he was not particularly happy with the film version of his play, inAllen directed and starred in a second version for television, with Michael J. Fox and Mayim Bialik. The play opened on February 12,and ran for performances.

It featured Diane Keaton and Roberts. He is the most disciplined person I know. He works very hard," Keaton has stated. He has written several one-act plays, including Riverside Drive and Old Saybrook exploring well-known Allen themes.

Feldman production What's New Pussycat? He was disappointed with the final product, which inspired him to direct every film that he would later write. Kagi no kagi"International Secret Police: Key of Keys"—was redubbed in English by Allen and friends with fresh new, comic dialogue.

Allen directed, starred in, and co-wrote with Mickey Rose Take the Money and Run inwhich received positive reviews. He later signed a deal with United Artists to produce several films. The Front was a humorous and poignant account of Hollywood blacklisting during the s; Ritt, screenwriter Walter Bernsteinand three of Allen's cast-mates, Samuel "Zero" MostelHerschel Bernardiand Lloyd Goughhad themselves been blacklisted.

I don't like meeting heroes. There's nobody I want to meet and nobody I want to work with—I'd rather work with Diane Keaton than anyone—she's absolutely great, a natural. Annie Hall set the standard for modern romantic comedy and ignited a fashion trend with the clothes worn by Diane Keaton in the film. In an interview with journalist Katie CouricKeaton does not deny that Allen wrote the part for her and about her. As in many Allen films, the main protagonists are upper-middle class writers and academics.

The love—hate opinion of cerebral persons found in Manhattan is characteristic of many of Allen's movies, including Crimes and Misdemeanors and Annie Hall. Manhattan focuses on the complicated relationship between middle-aged Isaac Davis Allen with year-old Tracy Mariel Hemingwayand co-stars Diane Keaton. Keaton, who made eight movies with Allen during her career, tries to explain why his films are unique: He just has a mind like nobody else.

He's got a lot of strength, a lot of courage in terms of his work. And that is what it takes to do something really unique. Along with a genius imagination. In Hannah and Her Sisterspart of the film's structure and background is borrowed from Fanny and Alexander.

Amarcord inspired Radio Days.

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September resembles Autumn Sonata. Allen uses many elements from Wild Strawberries. Overcome by the recent death of a friend from illness, the character states, "I don't want to make funny movies any more" and a running gag has various people including visiting space aliens telling Bates that they appreciate his films, "especially the early, funny ones.

She has a very good range, and can play serious to comic roles. She's also very photogenic, very beautiful on screen. She's just a good realistic actress He also made three films about show business: Broadway Danny Rosein which he plays a New York show business agent, The Purple Rose of Cairoa movie that shows the importance of the cinema during the Depression through the character of the naive Cecilia, and Radio Daysa film about his childhood in Brooklyn and the importance of the radio.

The film co-starred Farrow in a part Allen wrote specifically for her. Allen's short, Oedipus Wrecksis about a neurotic lawyer and his critical mother. In contrast to these lighter movies, Allen veered into darker satire toward the end of the decade with Deconstructing Harry and Celebrity During this decade, Allen also starred in the television film The Sunshine Boysbased on the Neil Simon play of the same name.

Contemporary nomenclature classified them as transvestites, and they were the most visible representatives of sexual minorities. They belied the carefully crafted image portrayed by the Mattachine Society and DOB that asserted homosexuals were respectable, normal people. Gay and transgender people staged a small riot at the Cooper Do-nuts cafe in Los Angeles in in response to police harassment. A riot ensued, with the patrons of the cafeteria slinging cups, plates, and saucers, and breaking the plexiglass windows in the front of the restaurant, and returning several days later to smash the windows again after they were replaced.

The enclaves of gays and lesbians, described by a newspaper story as "short-haired women and long-haired men", developed a distinct subculture through the following two decades.

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New York City passed laws against homosexuality in public and private businesses, but because alcohol was in high demand, speakeasies and impromptu drinking establishments were so numerous and temporary that authorities were unable to police them all. A cohort of poets, later named the Beat poets, wrote about the evils of the social organization at the time, glorifying anarchy, drugs, and hedonistic pleasures over unquestioning social compliance, consumerism, and closed mindedness.

Of them, Allen Ginsberg and William S. Burroughs —both Greenwich Village residents—also wrote bluntly and honestly about homosexuality. Their writings attracted sympathetic liberal-minded people, as well as homosexuals looking for a community. The city revoked the liquor licenses of the bars, and undercover police officers worked to entrap as many homosexual men as possible. One story in the New York Post described an arrest in a gym locker room, where the officer grabbed his crotch, moaning, and a man who asked him if he was all right was arrested.

While no laws prohibited serving homosexuals, courts allowed the SLA discretion in approving and revoking liquor licenses for businesses that might become "disorderly". In the New York Mattachine held a "sip-in" at a Greenwich Village bar named Juliuswhich was frequented by gay men, to illustrate the discrimination homosexuals faced.

Almost all of them were owned and controlled by organized crimewho treated the regulars poorly, watered down the liquor, and overcharged for drinks. However, they also paid off police to prevent frequent raids. Stonewall Inn Location of the Stonewall Inn in relation to Greenwich Village The Stonewall Inn, located at 51 and 53 Christopher Streetalong with several other establishments in the city, was owned by the Genovese crime family.

Once a week a police officer would collect envelopes of cash as a payoff, as the Stonewall Inn had no liquor license. It was the only bar for gay men in New York City where dancing was allowed; [51] dancing was its main draw since its re-opening as a gay club. The legal drinking age was 18, and to avoid unwittingly letting in undercover police who were called "Lily Law", "Alice Blue Gown", or "Betty Badge" [53]visitors would have to be known by the doorman, or look gay.

Patrons were required to sign their names in a book to prove that the bar was a private "bottle club", but rarely signed their real names. There were two dance floors in the Stonewall; the interior was painted black, making it very dark inside, with pulsing gel lights or black lights.

If police were spotted, regular white lights were turned on, signaling that everyone should stop dancing or touching. The customers were "98 percent male" but a few lesbians sometimes came to the bar. Younger homeless adolescent males, who slept in nearby Christopher Parkwould often try to get in so customers would buy them drinks. Many bars kept extra liquor in a secret panel behind the bar, or in a car down the block, to facilitate resuming business as quickly as possible if alcohol was seized.

Those without identification or dressed in full drag were arrested; others were allowed to leave. Some of the men, including those in drag, used their draft cards as identification. Women were required to wear three pieces of feminine clothing, and would be arrested if found not wearing them.

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Employees and management of the bars were also typically arrested. We're taking the place! According to Duberman p. Days after the raid, one of the bar owners complained that the tipoff had never come, and that the raid was ordered by the Bureau of Alcohol, Tobacco, and Firearmswho objected that there were no stamps on the liquor bottles, indicating the alcohol was bootlegged.

Historian David Carter presents information [64] indicating that the Mafia owners of the Stonewall and the manager were blackmailing wealthier customers, particularly those who worked in the Financial District.

They appeared to be making more money from extortion than they were from liquor sales in the bar. Carter deduces that when the police were unable to receive kickbacks from blackmail and the theft of negotiable bonds facilitated by pressuring gay Wall Street customersthey decided to close the Stonewall Inn permanently. Two undercover policewomen and two undercover policemen had entered the bar earlier that evening to gather visual evidence, as the Public Morals Squad waited outside for the signal.

Stonewall riots

Once inside, they called for backup from the Sixth Precinct using the bar's pay telephone. The music was turned off and the main lights were turned on. Patrons who had never experienced a police raid were confused. A few who realized what was happening began to run for doors and windows in the bathrooms, but police barred the doors.

Michael Fader remembered, Things happened so fast you kind of got caught not knowing. All of a sudden there were police there and we were told to all get in lines and to have our identification ready to be led out of the bar. The raid did not go as planned. Standard procedure was to line up the patrons, check their identification, and have female police officers take customers dressed as women to the bathroom to verify their sex, upon which any men dressed as women would be arrested.

Those dressed as women that night refused to go with the officers. Men in line began to refuse to produce their identification. The police decided to take everyone present to the police station, after separating those cross-dressing in a room in the back of the bar. Maria Ritter, then known as male to her family, recalled, "My biggest fear was that I would get arrested.

My second biggest fear was that my picture would be in a newspaper or on a television report in my mother's dress! Now, times were a-changin'.

Tuesday night was the last night for bullshit Predominantly, the theme [w]as, "this shit has got to stop! Instead, they stopped outside and a crowd began to grow and watch. Although the police forcefully pushed or kicked some patrons out of the bar, some customers released by the police performed for the crowd by posing and saluting the police in an exaggerated fashion.

The crowd's applause encouraged them further: The police began escorting Mafia members into the first wagon, to the cheers of the bystanders. Next, regular employees were loaded into the wagon. A bystander shouted, "Gay power! Author Edmund Whitewho had been passing by, recalled, "Everyone's restless, angry, and high-spirited. No one has a slogan, no one even has an attitude, but something's brewing.

A scuffle broke out when a woman in handcuffs was escorted from the door of the bar to the waiting police wagon several times. She escaped repeatedly and fought with four of the police, swearing and shouting, for about ten minutes.

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Described as "a typical New York butch" and "a dyke—stone butch", she had been hit on the head by an officer with a baton for, as one witness claimed, complaining that her handcuffs were too tight. Some of those handcuffed in the wagon escaped when police left them unattended deliberately, according to some witnesses. The commotion attracted more people who learned what was happening.

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Someone in the crowd declared that the bar had been raided because "they didn't pay off the cops", to which someone else yelled "Let's pay them off!

Though Van Ronk was not gay, he had experienced police violence when he participated in antiwar demonstrations: Every time you turned around the cops were pulling some outrage or another. Multiple accounts of the riot assert that there was no pre-existing organization or apparent cause for the demonstration; what ensued was spontaneous. It wasn't anything tangible anybody said to anyone else, it was just kind of like everything over the years had come to a head on that one particular night in the one particular place, and it was not an organized demonstration Everyone in the crowd felt that we were never going to go back.

It was like the last straw. It was time to reclaim something that had always been taken from us All kinds of people, all different reasons, but mostly it was total outrage, anger, sorrow, everything combined, and everything just kind of ran its course. It was the police who were doing most of the destruction. We were really trying to get back in and break free.

And we felt that we had freedom at last, or freedom to at least show that we demanded freedom. We weren't going to be walking meekly in the night and letting them shove us around—it's like standing your ground for the first time and in a really strong way, and that's what caught the police by surprise.

There was something in the air, freedom a long time overdue, and we're going to fight for it. It took different forms, but the bottom line was, we weren't going to go away. The only photograph taken during the first night of the riots shows the homeless youth who slept in nearby Christopher Park, scuffling with police. The Stonewall became home to these kids. When it was raided, they fought for it.

That, and the fact that they had nothing to lose other than the most tolerant and broadminded gay place in town, explains why. Witnesses attest that "flame queens", hustlers, and gay "street kids"—the most outcast people in the gay community—were responsible for the first volley of projectiles, as well as the uprooting of a parking meter used as a battering ram on the doors of the Stonewall Inn. You've been treating us like shit all these years? Now it's our turn!