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Zelig is a 1983 American satirical mockumentary comedy film written, directed by and starring Woody Allen as Leonard Zelig, a nondescript enigma, who, apparently out of his desire to fit in and be liked, unwittingly takes on the characteristics of strong personalities around him. The film, presented as a documentary, recounts his period of intense celebrity during the 1920s, including analyses by contemporary intellectuals.
The film received critical acclaim and was nominated for numerous awards, including the Academy Awards for Best Cinematography and Costume Design.
Interviewed in one of the witness shots, psychologist Bruno Bettelheim makes the following comment:
Dr. Eudora Fletcher (Mia Farrow) is a psychiatrist who wants to help Zelig with this strange disorder when he is admitted to her hospital.Eudora Fletcher was the name of the principal of P.S. 99 in Brooklyn, NY, the elementary school Allen attended as a child. Through the use of hypnotism, she discovers Zelig yearns for approval so strongly that he physically changes to fit in with those around him. Dr. Fletcher eventually cures Zelig of his compulsion to assimilate, but goes too far in the other direction; for a brief period he is so intolerant of others' opinions that he gets into a brawl over whether or not it is a nice day.
Dr. Fletcher realizes that she is falling in love with Zelig. Because of the media coverage of the case, both patient and doctor become part of the popular culture of their time. However, fame is the main cause of their division. Numerous women claim that he married and impregnated them, causing a public scandal. The same society that made Zelig a hero destroys him.
Zelig's illness returns, and he tries to fit in once more, before he disappears. Dr. Fletcher finds him in Nazi Germany working with the Nazism before the outbreak of World War II. Together they escape, as Zelig uses his ability to imitate one more time, mimicking Fletcher's piloting skills and flying them back home across the Atlantic upside down. They eventually return to America, where they are proclaimed heroes and marry to live full happy lives.
The film uses by real figures from academia and other fields for comic effect. Contrasting the film's vintage black-and-white film footage, these persons appear in color segments as themselves, commenting in the present day on the Zelig phenomenon as if it really happened. They include essayist Susan Sontag, psychoanalyst Bruno Bettelheim, Nobel Prize-winning novelist Saul Bellow, political writer Irving Howe, historian John Morton Blum, and the Paris nightclub owner Bricktop.
Also appearing in the film's vintage footage are Charles Lindbergh, Al Capone, Clara Bow, William Randolph Hearst, Marion Davies, Charlie Chaplin, Josephine Baker, Fanny Brice, Carole Lombard, Dolores del Río, Adolf Hitler, Joseph Goebbels, Hermann Göring, James Cagney, Jimmy Walker, Lou Gehrig, Babe Ruth, Adolphe Menjou, Claire Windsor, Tom Mix, Marie Dressler, Bobby Jones, and Pope Pius XI. Each of these public figures were represented in newsreel footage and many were also seamlessly portrayed by look-alike actors in the film.
In the time it took to complete the film's special effects, Allen completed A Midsummer Night's Sex Comedy (production started prior to the filming of Zelig) and filmed Broadway Danny Rose. This is Orion Pictures' last film to be released through Warner Bros.
In his review in The New York Times, Vincent Canby observed:
Variety said the film was "consistently funny, though more academic than boulevardier", and The Christian Science Monitor called it "amazingly funny and poignant". Time Out described it as "a strong contender for Allen's most fascinating film", while TV Guide said, "Allen's ongoing struggles with psychoanalysis and his Jewish identity – stridently literal preoccupations in most of his work – are for once rendered allegorically. The result is deeply satisfying". Gene Siskel gave the film two stars out of four, calling it "a beautifully made but slight fable."Gene Siskel (August 19, 1983). "Great filmmaking wasted on a disappointing film". Chicago Tribune. Section 6, p. 3. Pauline Kael wrote that when the film was over "I felt good, but I was still a little hungry for a movie. There's a reason 'Zelig' seems small; there aren't any characters in it, not even Zelig."Pauline Kael (August 8, 1983). "The Current Cinema". The New Yorker. 84.
Colin Greenland reviewed Zelig for Imagine magazine, and stated that "Woody Allen's most irresistable film for quite a while. He has found a new way to make fun of his own neuroses without exposing us to the egoism which became so overbearing in Manhattan or Stardust Memories."
It ranked 588th among critics, and 546th among directors, in the 2012 Sight & Sound polls of the greatest films ever made. Chris Nashawaty of Entertainment Weekly listed the work as one of Allen's finest, lauding it as "a spot-on homage to vintage newsreels and a seamless exercise in technique." The Daily Telegraph film critics Robbie Collin and Tim Robey also named it as a career highlight and argued, "The special effects, in which Allen is seamlessly inserted into vintage newsreels, are still astonishing, and draw out the aching tragicomedy of Zelig's plight. He's the original man who wasn't there." Calum Marsh of Slant Magazine magazine wrote, "We are infinitely pliable. That's the thesis of Zelig, Allen's wisest film, which has much to say about the way a person can be bent and contorted in the name of acceptance. Its ostensibly wacky conceit ... is grounded in an emotional and psychological reality all too familiar to shrug off as farce. We'll go very far out of our way to avoid conflict. Zelig seizes on that weakness and forces us to recognize it."
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