Who could possibly win? Aaron Sorkin would probably like to think he could, but I’d nominate someone like… Diablo Cody. Because when it comes to a war of words, written words, few people could take on Woody Allen. Have you read his response to Dylan Farrow? Click here if you missed it this weekend.
Last week it was Dylan who told her side of the story in the New York Times. It took Allen a week to draft and release his rebuttal, also in the New York Times. The piece is thoroughly…CINEMATIC. Like a screenplay there are three distinct acts: we open with disbelief, we move into attack, we conclude on righteous resignation and something that’s supposed to resemble kindness. There are heroes and villains, victims caught in the cross, B-plots and red herrings, even subtle comedy. I’m neurotic, remember? Why would I ever go into an attic?
The word is the weapon that Woody Allen wields best. This the battleground where Woody Allen can’t lose: on paper. Take the words on paper and transfer them to film, have them delivered by the premiere thespians of the world, and what you get, what we get, is Art – powerful, pure, infallible.
Woody Allen writes so beautifully. How could he possibly lie?
But in this mess, no one gets the last word. And that’s why there’s so much information and misinformation. For what it’s worth then, Maureen Orth who wrote both Mia Farrow/Woody Allen pieces for Vanity Fair and the Tom Cruise Scientology piece in 2012 following his divorce from Katie Holmes, came out with an article the other day called 10 Undeniable Facts About The Woody Allen Sexual-Abuse Allegation. Click here if you care to fill your head with even more confusion.
Attached – Woody Allen performs with his jazz band last week.
