SHADOWS AND FOG

US, 1992, 86 minutes, Black and White.
Woody Allen, Kathy Bates, John Cusack, Mia Farrow, Jodie Foster, Fred Gwynne, Julie Kavner, Madonna, John Malkovich, Kenneth Mars, Kate Nelligan, Donald Pleasance, Lily Tomlin.
Directed by Woody Allen.

Shadow and Fog is a short, almost low-key, Woody Allen film. It is a homage to the silent movies of between-wars Germany (sinister black and white shadows) as well as early Ingmar Bergman movies, like his circus story, Sawdust and Tinsel. And it is a bit like mock-Kafka fable.

This is not to say that it is not funny. Allen capitalises on his little man persona - his character is literally Kleinman. He is weak, cowardly, wringing his psyche and anguishing aloud. And in the setting of a night's vigilante search for a serial killer in a dark European town of indeterminate time, he is often very funny. (The sets and the black and white photography suggest middle Europe of the '20s and '30s - and this is reinforced by the strong background of Kurt Weill music.)

Allen also surrounds himself with a mini-galaxy of stars, who impress despite their brief time on screen. But Mia Farrow is once again his effective co-star. As usual, one has to listen closely to the screenplay. The one-liners are funny, but it is the serious tones, the exploration of human questions that demand attention: conscience, violence, sexuality, responsibility - all in 80 minutes.

1. The work of Woody Allen? Comic and serious? A film for film buffs? Homage to the cinema tradition? The questions of the '90s?

2. Woody Allen's direction and his skills, the homage to the German silent era? His acting and his little man, Kleinman persona? His writing, wit, comedy, characters, situations and spoof? Serious themes of God, guilt, violence, sex and the meaning of life?

3. The black and white photography, the German expressionist styles of the '20s and '30s? The artificial sets, the streets, interior, night, shadow and shadows? Ingmar Bergman and the homage to the circus? The European town, the site for the circus, the brothel, the laboratory, the bar? His using the popular genres of the time and audience expectations of these (for example, the scientist and the laboratory)?

4. The musical score, the music of Kurt Weill and its mood and tone?

5. The film as an allegory, an evil world, meaningless evil, the little man as victim, people trying to survive, relationships, the hope in children in the next generation? Moving out of the confinement of the world to a new life?

6. The background of the serial killer, memories of Fritz Lang's M? The opening with the town, the atmosphere of evil, the meaning of such evil, the God questions? The initial murder, the killer? The vigilantes and their meeting, taking justice into their own hands? The meeting in groups - but their incompetence, violence towards one another? Waking up Kleinman? His bewilderment, not knowing his part in the plan? The killer stalking people, strangling? The doctor and the laboratory, the victims and his wanting to explain everything by reason, denial of the soul? The serial killer and his murdering the doctor, the threats? The confrontation with Irmy? The killer and the encounter with Kleinman and the magician, the tricks with the mirror, the illusions? Shackles - but his escape? A world in which a killer is still loose and people do not know what to do?

7. Woody Allen as Kleinman, woken up in the middle of the night, his cowardly talk, his mannerisms, weak, impotent (even sexually impotent)? His obsequious attitude towards his boss? Getting up, the vigilantes, wandering the town, lost? The support of his landlady - even to her advice about pepper? His going to the doctor, talking with the doctor, his cerebral investigations, the horror of the actual corpses? Talk about God and the soul? The drink and the fingerprints on the glass? His hurrying from the doctor? Meeting Irmy, the circus? Talking with her, sharing with her? Her sexual encounter, the money - and his going to give it to the priest, his being on the suspects list, his generosity and being crossed off - and then asking for half the money back and being still under suspicion? The various groups of vigilantes and their factions? His meeting with the prostitutes, his talk with them, going into the bedroom with the prostitute, his impotence and explanations? Irmy and his wanting to get shelter for her? His relationship with Eve, the engagement, Eve and her harsh rejection of him? His friendship with Alma, the memories, her denouncing him? His talk and the puzzles of life? Going to the circus, encountering the magician, his admiration for the magician? Sharing in the tricks and the illusions, waving from the mirror? The possibility of going with the circus, final decisions - and his leaving everything and going with the circus?

8. Irmy and her sword-swallowing act, her relationship with Clown? Wanting to marry, wanting to have children? Listening to the clown and his explanations of humour, routines and trying to be funny? The clown and his taking himself seriously, his vocation? His going to Marie, the sexual relationship? Irmy and her discovery, her anger, leaving the circus? The clown and his bewilderment, self-satisfaction? Irmy and her meeting the prostitute in the street, their friendly talk, her puzzle about the prostitute's life, the meal at the brothel, the student and the offer of the $700, her talking, the bargain, the effect? The release of passion? Her taking the money, meeting Kleinman, wanting shelter? Her decision to give the money to the church, feeling better, getting half the money back for the girl wandering with the baby? The clown and his sorrow, going to the inn, encountering the student, hearing about Irmy's behaviour? Their meeting again, the baby, the reconciliation? The clown and his tenderness with the baby, stopping Irmy holding it? The threats - but their being together? Hope for a future?

9. The vigilantes, the types, their talk, the factions? The police and their investigations? Mr Paulssen, his voyeur activity, the encounter with Kleinman, Kleinman's obsequious attitude towards him? The chance meeting of Simon Carr, the rivalry, Carr's mockery of him? Spiro and his assistant, trying to act as a seer to track down the serial killer? The adulation for Spiro?

10. The prostitute on the street, the encounter with Irmy? The brothel, the women, their friendships? Their work, frank talk? Their reflections on men, sexual needs, sexual activities? The ridiculing of men's behaviour? The place of men and women? The role of the brothel? Questions of love, sexuality, performance? Their welcoming of Irmy? The students, their money, the meetings with the prostitutes? The encounter with Irmy?

11. The students, their background, coming to the brothel? Jack and his choice of Irmy, the bargain with the money? The encounter, his reflections? His meeting with the clown, explaining his situation, the encounter of the night? The difference between lust and love?

12. The world of the circus, the boss, the fat lady, the dwarf? Marie, the tightrope, her strongman husband? The life of the circus, the money, the boss and his tightness? Marie and relationships with the clown?

13. The magician, his self-image, his skills? His confrontation with the serial killer? Kleinman and his help? The taking of the serial killer, shackling him - but his breaking free? The magician offering a future to Kleinman?

14. The doctor and the background of the science fiction of the time, the rationalism of the doctor, despising the soul, wanting to understand all human behaviour? The discussions with Kleinman? The confrontation with the killer, the chase and his death?

15. The landlady, her care for Kleinman, suggestions about the pepper? Eve, her arrogance and cruelty? Alma - her love but attacking Kleinman?

16. The glimpse of the priest, the church, authority, money - and the touch of hypocrisy? The police chief?

17. The young woman, the baby - and the echoes of the Gospels? The clown and Irmy caring for the baby?

18. The blend of the comic and the serious - Woody Allen style?