" But why does she get a public platform to exorcise her demons?" Allen has been doing exactly that for years, in a barely disguised fictional form. More on that in a bit.
'I think what weakens Dylan's letter is her casting blame on all the people Woody has worked with. Her letter would be much stronger if she had just stuck to her story." Yes, Gothampc, the letter would have been far more effective had she left off the naming and shaming of those other than Allen. To my mind, that lends even more credence to her story. The letter wasn't calculated, it was heartfelt.
Allen makes it difficult to separate him from his art because he so often injects so much of himself into it. One of my biggest issues with him is his tendency to use his films as a forum to get back at others, as the excerpt that tazber posted about Blue Jasmine illustrates. Allen did something similar in Central Park West, his one act play from '95's Death Defying Acts. From Jeremy Gerard's review in Variety:
"What’s so unsavory about “Central Park West” is Allen’s apparently unchecked compulsion to settle private scores in public, exploiting real people he once loved. “Central Park West” is almost wholly devoid of human feeling." The play was cringeworthy in its timing and parallels to Allen's life at the time. Very ugly.
I also agree with YWIW that The Daily Beast article, combined with Allen's lifetime award, was quite possibly the catalyst that caused Dylan to come forward now.
Updated On: 2/2/14 at 02:30 PM