Zelig (Woody Allen, 1983)

So it's about the fickle nature of celebrity, and how the individual involves himself with said celebrity. This seems to be a common theme throughout Allen's work, as many of the characters he plays are embroiled in serious debates (internal and external) over the effects of fame - maybe I need to see Celebrity? All of his characters are attempting to find meaning and a place in a society that works hard to reject them. Zelig's desire to "fit in" to the point that he literally becomes the people he is with is funny, but it also speaks to the desire to fine a place of comfort, possibly to the point that one ceases to have any sort of fame. Interesting how Zelig's desire to disappear into the crowd works against him, as it ultimately forces him into the spotlight.

Zelig's desire to "fit in" also begs the question of what it means to be an American. The film, taking place in the 1920s, evokes a nostalgia, but also a sense of the creation of the "genuine" American - a significant part of the story of modern America was forged in the 1920s, and the film certainly touches on the subjects that originated in this era, from the jazz music soundtrack to the various immigrant groups, many of which had at this time had only just arrived in America. Since Zelig is trying to become lost as an American, I find it interesting that he then does so by exploring the diversity of America. Bridging the divide between a diverse, unique American experience and the "genuine" all-American experience must be what Zelig is after.

Which makes it rather funny, then, that the state Zelig ultimately feels most genuine in is the Woody Allen character present in just about every film in which I've seen him act. I think it is important to note that, while the film presents photographs of Zelig as various ethnic and social groups, the one form we see him the most as is the psychoanalyst, where he attempts to become a psychiatrist. The fakeness of this could be a satire on his previous roles, such as in Annie Hall or Manhattan, where his obsession over his personal state is a fundamental part of the character.

Maybe this character exists to show the timelessness of it? The scenes which I found funniest were those where Zelig, now "cured" of his illness, speaks to the audience on the faux-1920s newsreel, speaking just like Allen speaks in all his films. Although it bordered the line on grating, I did think it interesting that Zelig, when cured of his issues with fitting in, turns into the same character as previous Allen films, especially when many of the problems leading to Zelig's illness are issues other Allen characters deal with.