“You’re so literal… it’s such a curse to be literal” (72) The hidden strength of the words gets lost behind its façade and whenever we are unable to grasp it, life becomes duller. That’s Allen’s complaint. And he is right.
In a world full of shrinks (one of the most reicognoscible characteristics of Woody Allen’s works) two so-called friends meet up. Carol is worried about Phyllis. Quite soon, though, we see the origin of her worries: she’s been having an affair with Phyllis’ husband for the last couple of years. And she has found out. Then, Howard (Carol’s husband) arrives and Phyllis tells him that his wife is abandoning him and leaving with her husband. Howard, instead of going mad, takes the news with serenity and resignation, like he is aware that he can do nothing to repair the situation and prefers to go with the flow. Phyllis, on the other hand… “there’s a time to be rational and a time to run amuck… I keep the steak knives in the blue drawer” (91)
“HOWARD. She likes to say she hasn’t found herself.
PHYLLIS. Has she tried looking in the reptile house?” (92)
“Even a clock that is broken is right twice a day” (101) There is still hope, then, for all the loonies, wanderers, misguided and confused ones.
“Marriage is the death of hope” (117) Says Howard to Juliet, Sam’s lover, once they’ve met face to face in the final stages of the play where all the characters meet up in Phyllis’ flat and the confessions, the vanished hopes and the blames grow bigger and bigger… an excellent climax for a very Allenesc play.
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Woody Allen, Central Park West (part of Death Defying Acts – Samuel French Inc.)
Roger's Books 