Film maker Woody Allen has long had a reputation for creating unique motion pictures. Whether he writes, directs, or stars in them, his releases are always highly anticipated events among his fans. Appealing to the more intellectual set than the standard movie going audience, his films are often accepted by critics, but not by mainstream moviegoers who often grow tired of his trademark neurotic behavior routine. With 12 Academy Award nominations, however — for writing (2 were winners), 6 nominations for directing (1 was a winner) and 1 for acting (for 1977's "Annie Hall") — there's certainly enough proof that he's probably the most recognized auteur in the business. Almost always shooting in New York and having complete control over his work, Allen is free to deliver films that other film makers probably couldn't, and that many studios wouldn't dare attempt.
He's not hurt by the fact that nearly every actor and actress wants to be in his productions, and this film is no exception. Featuring a cornucopia of stars past and present, we're entertained by the likes of Kirstie Alley, Richard Benjamin, Billy Crystal, Judy Davis, Mariel Hemingway, Amy Irving, Julia Louis-Dreyfus, Demi Moore, Elisabeth Shue, and Robin Williams among many others. You many wonder how all of those people fit into a movie that's just over an hour and a half in length. The answer is that most of them arrive in small roles, some of which are nearly just glorified cameos.
They are used in their short time on screen, however, in quite humorous and clever ways. Throughout the film we're treated to short dramatizations of the main character's literary creations, all of which are based on his life or those of others he knew. Thus we get to see various stages of Harry's life that, of course, are really just symbolic of Allen's own life growing up. As in many of his other films, Allen focuses on his own insecurities through his characters doing the same, and those fears and worries zero in on the standard Allen collection of religion, sex, love and divorce.
Obviously your appreciation and/or enjoyment of this film will highly depend on whether you like Allen's standard neurotic shtick. Pretty much playing the same guy he has in most of his other movies, Allen portrays himself through his characters as quite the lady's man with an even more abundant sex life. This film is surprisingly rather "mature" in that field, even for an Allen film, and some of the material may be a bit strong for his more casual fans. Examples of that include an oral sex scene involving Julia Louis-Dreyfus (from TV's "Seinfeld") as well as a scene featuring naked women chained to the walls of Hell.
Viewers should remember, though, that this is the same guy who recently made "Mighty Aphrodite" (a man's "rehabilitative" efforts with a hooker), and of course the infamous "Everything You Always Wanted to Know About Sex But Were Afraid to Ask" (1972) where he played several characters, including one who was a sperm. Additionally, all of the material is played for laughs, but obviously the interpretation of humor involving such material certainly lies with the individual viewer — some will find it brilliantly funny, while others might find it distasteful.
There are other funny bits apart from Allen's routine, including a brilliant piece featuring Robin Williams. Playing an actor on a film set, his director is mad that something's wrong with the camera that makes him look out of focus. That is, until they realize that Williams himself is really out of focus. Using some fun special effects, the gag is quite hilarious and fortunately kept brief so as not to outwear its welcome. Other creatively fun bits include a young Allen getting his comeuppance for lying about his identity when Death comes knocking at his door, as well as a scene where Allen takes an elevator down to Hell ("This floor...lawyers who appear on TV").
Other segments, though, sometimes feel a bit long and just downright strange. A bar mitzvah scene, for instance, that features waiters and band members wearing storm trooper helmets straight from "Star Wars," is something you'd more expect to find in a Mel Brooks film than one by Allen. For the most part, however, the material is rather funny, and Allen ties all of it up in a tidy package as his character eventually finds the self-redemption for which he was looking. Overall, this is one of Allen's funnier films of recent, and his die-hard fans will undoubtedly love it. Whether it manages to find a wider audience is questionable, but at this point in his career (and for most of his career for that matter), Allen doesn't really care. He just wants to make his own films and entertain his core audience, and he certainly succeeds with this film. We give "Deconstructing Harry" a 7.5 out of 10.