September [DVD] [1987]: Amazon.co.uk: Elaine Stritch, Denholm Elliott, Mia Farrow, Dianne Wiest, Sam Waterston, Jack Warden, Ira Wheeler, Jane Cecil, Rosemary Murphy, Carlo Di Palma, Woody Allen, Susan E. Morse, Charles H. Joffe, Gail Sicilia, Jack Rollins, Robert Greenhut: DVD

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Special Features
1.85 Wide Screen
16:9 Anamorphic Wide Screen
DVD 5
French\German\Spanish
English
English
Region 2
Mono English French German Spanish
Mono
Original Theatrical Trailer
Interactive Menu
Chapter Selection
Danish\Dutch\English\French\Norwegian\Spanish\Swedish

Synopsis
In a serene Vermont country house, six people share their dreams, their fears, and their desires, as secrets are revealed and trusts broken. The cast is led by Mia Farrow, who plays Lane, a woman who has never fully dealt with a long-ago shooting. Elaine Stritch plays Diane, Lane's mother, who never stops talking about her wild past spent with movie stars and gangsters; she is married to Lloyd (Jack Warden), a physicist with a gloomy view of the future of the universe. Sam Waterston plays Peter, a divorced writer wanna-be who loves Stephanie (Dianne Wiest), Lane's married best friend. Finally, Denholm Elliott plays Howard, the older and wiser professor who is coming to terms with his feelings for Lane. Writer-director Woody Allen's SEPTEMBER is a mature, grim, serious film, close in theme and pacing to INTERIORS, very different from such spirited romantic comedies as ANNIE HALL and HANNAH AND HER SISTERS.

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Customer Reviews

4 Reviews

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3.8 out of 5 stars (4 customer reviews)

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5 of 5 people found the following review helpful:

5.0 out of 5 stars One of Allen's best, 15 May 2009

By	Jonathan Carr "joncarr" (London, UK) - See all my reviews (REAL NAME)

What fascinates about this piece is that it is about trauma. Mia Farrow's character has never been able to get over what her mother did to her, and in turn Elaine Strich's character glosses over it like it doesn't matter. To say that doesn't give the game away, since the storytelling is astute, allowing us to think we are dealing with silly characters who have never been through anything difficult.

In this story a mother does something disgusting to her daughter. She then creates excuses and justifications for what she did, so that she need not care. And she never admits to doing anything wrong. The daughter is destroyed: deeply affected. She is unable to get an apology and unable to find a path out of this. The reason it's compelling is that although the daughter did not create her life situation, she is stuck with it. We empathise with the unfairness of this.

Although the daughter is not responsible, she must take responsibility for the situation.

Just why it is that Woody Allen's movies are so hit and miss is a mystery. This movie is exceptional, however, and makes you wonder just what this film-maker is really capable of. Highly recommended.

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4 of 4 people found the following review helpful:

4.0 out of 5 stars Rather bleak and occasionally quite moving., 2 Mar 2006

By	Jonathan James Romley (Dublin, Ireland) - See all my reviews (TOP 50 REVIEWER)

September seems to be a love-it-or-hate-it work within the Allen filmography, one that seems synonymous with that period in the late 80's when he was trying to take on weightier issues that drew stylistically on the films of Ingmar Bergman (see Another Woman, Husbands and Wives, Crimes and Misdemeanours and elements of Hannah and Her Sisters for more), and one that has the famous back-story of Allen shooting the film once, assembling a rough-cut, deciding he hated it, re-writing the script, re-casting the film and eventually re-shooting the same story on a soundstage in upstate New York. His intention... to create an isolated and claustrophobic atmosphere in which he could develop a modern-day chamber-piece that would stand more as a filmed play as opposed to a major motion picture!! Still, it showed that he was taking risks rather than playing it safe, something that he would end up doing during the latter half of the 90's and the first half of the new millennium.

The basic story of the film concerns six main protagonists who are gathered together at an idyllic summer house in Vermont. The house belongs to Lane (Farrow), who is recuperating from a nervous breakdown, a failed relationship and years of guilt and speculation involving the murder of her abusive step-father. Amongst the group is Peter (Sam Waterston), a struggling writer who is lodging with Lane and who Lane has a crush on. Peter however, is in love with Lane's friend Stephanie (Diane Wiest), who is staying at the summer house to escape the tedium of her husband while her children are away at camp. Stephanie seems close to Howard (Denholm Eliot) who has hidden feelings from Lane, whilst between the four of them there is Lane's vibrant and gregarious mother Diane (Elaine Stritch) and her new lover Lloyd (Jack Warden). The set-up seems ripe for the kind of comedic misunderstandings usually found in the greatest of French farce (or even Bergman's Smiles of a Summer Night!!), but instead, Allen uses the notion of couples "in love with someone, in love with someone else" to mine deeper questions involving the need for love, understanding and acceptance in the face of loneliness and isolation.

Throughout the film we never stray from the stifling claustrophobia of the summer house, with Allen carefully cutting backwards and forwards between the main characters and their escalating interactions that can only lead to a scene of devastating emotional fall out!! As a result, September is a purposely stagy film that relies heavily on scenes of dialog punctuated by moments of piercing silence. If this doesn't sound like your cup of tea, then the film most certainly isn't for you, with Allen and long-term cinematographer Carlo Di Palma shooting much of the film in long, unbroken takes, with very few close-ups (the obvious exception being the closing scenes of dysfunction), and generally allowing scenes to play out in semi-darkened rooms lit by candle-light or very low sepia bulbs. The feeling that this creates is one of mystery and desperation, offering many secluded areas for the group to break away and take solace in their secrets, whilst also going to some lengths to visualise the deep-seated animosity that lies at the heart of the film's central characters.

The film could easily be seen as the middle-part of Allen's dramatic trilogy, which began with the very bleak Interiors in 1978 and climaxed with the very bleak but wholly more interesting Another Woman from 1987. On the whole, September is a more enjoyable film than Interiors (if it is possible to enjoy such a bleak and miserable film), though for me lacked the depth of further interpretation that was so central to Another Woman. The story can at times be a little slow, despite the film clocking in at just under an hour and twenty-minutes, but it is worth sticking with as far as I'm concerned, particularly for the great performances and that jaw-dropping moment towards the end of the film, in which the root of Lane's problems and the deep-seated animosity towards her mother is finally revealed.

The performances are fine throughout, though it is Farrow (in possibly her best performance ever... alongside The Purple Rose of Cairo) and Wiest who really stand out as something spectacular. It's a film that I particularly enjoy (though I'm someone who can overlook the flaws in Shadows and Fog and The Curse of the Jade Scorpion to see the great work lurking beneath), and I feel it shows Allen's deft understanding of character, atmosphere, design and direction in pulling off such a dour and depressing piece of work. Although it could be argued that the subsequent Crimes and Misdemeanours and Husbands and Wives were also fairly dark and dramatic films, they were undercut by Allen's verbal wit and enough moments of lighter comedy. Interiors, September and Another Woman are films without laughs and devoid of the usual Allen wit... with the director instead choosing to ask deeper questions about life, love and loneliness. The characters here are forced to dig through the secrets of the past (and the present), whilst at the same time, staring life full in the face, in order to get to the root of their various problems and complications, but ultimately find a (slim) glimmer of hope drifting far on the horizon.

As with 90% of Allen's work, September is a perfectly made film with an interesting story, strong characters and an impeccable design. Though it perhaps tries too hard to develop its overtly serious tone, it should be commended for trying to do something stylistically different, whilst simultaneously offering us a film for adults about adults, that isn't afraid to present the darker aspects of life. It may fall somewhat outside the top-ten of Allen-related masterworks, but regardless, it is well made, impeccably acted and occasionally quite moving, and deserves to find an audience that is willing to invest some time in it.

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14 of 17 people found the following review helpful:

5.0 out of 5 stars Unforgettable, 23 Feb 2005

By A Customer

September (Woody Allen, 1987)

Between his serio-comic reminiscence RADIO DAYS and the searing adult drama ANOTHER WOMAN, Woody Allen made September, a reflective, introspective chamber-piece on his favourite themes of childhood, adultery, love and loss. One imagines that the chilly critical and public response will shift to one of admiration and wonder as the years shift, such is the haunting power of this masterpiece.

Mia Farrow plays Lane, an unsuccessful photographer recovering from a breakdown in her autumnal apartment, the golds and rusts of the season chiming with the forlorn tone of the story. She falls in love with a visiting writer (Waterston), who appears to be drifting away from her, since he is besotted with Lane's sister Stephanie (Wiest). Barely taking an interest is the sisters' self-absorbed mother (Stritch) and her insecure third husband (Warden). Denholm Elliot rounds out the principal case as a kind family friend, his love for Lane unspoken.

There are many great moments in this complex, brilliant film, but two in particular remain long in the mind. First is the "love scene" between Waterston and Wiest. Wiest says- torn- that to begin an affair would be "impossible" and exits. Then, slowly, she turns and walks back into the room, shutting the door. Wiest has never been better than in this film, than in this moment. A startling, beautifully realised epiphany, boiled down to a look, a bow and a smile. The second great sequence comes with the shattering denouement, which I shan't spoil for you here. Allegedly based on the Johnny Stompanato murder case, it's a considerable jolt.

Allen's straight dramas certainly aren't for all tastes, but for those who can take them the rewards are vast. There has never been a screenwriter with a better ear for dialogue and in his "serious" films, Allen creates fascinating, utterly believable characters. The performances are pitch-perfect throughout, with Wiest, Farrow and Stritch all on career-best form. As always Allen's use of lighting and music is spot-on; here he showcases Art Tatum and Bernie Leighton, providing an evocative soundtrack to an unforgettable film.

Simply brilliant. 4 out of 4.

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1.0 out of 5 stars September - Woody Allen
I am a devoted Allen fan but this was a dreary, aimless movie that contained the worst line ever written in a movie. Read more

Published on 9 Jul 2005 by Mr. J. C. Sime

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	54% buy the item featured on this page: September [DVD] [1987] 3.8 out of 5 stars (4) �6.87
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September [DVD] [1987]

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