The mold was set quite young. In his famous “Moose” routine from his stand-up days, Woody Allen displays many sides to his both charming and harming love-hate relationship with himself and those who are described as fans.The Moose has been shot, is bleeding profusely yet Allen brings him to a masquerade party. Allen is a marginal figure who came to symbolize a swath of the mainstream, or at least a large subculture. There is always a morbid fascination at play with Woody Allen; with ugliness and death lurking,an emotional holocaust waiting to be set in motion accentuated by his clever rearranging of details in his narrative.
If not, the scenario must be invented with elements of a Kafka narrative; a vague yet haunting paranoia portending some undefinable deep suffering that is impossible to share. There is no escape, so learn to love it, you might just enjoy it attitude. Like Otto Dix paintings, there is an attraction and repulsion dynamic at work thats both creepy and and more than a little appealing.
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Otto Dix, Metropolis (1928)
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