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For the die-hard Woody Allen fan, this is a very interesting documentary that takes a look at the man, the neurotic, and - in particular for the purposes of this film - the musician. This is a candid travelogue surrounding Woody's 1996 tour of Europe, where he was booked with his New Orleans Jazz Band to play a series of engagements. The camera follows Allen (along with Soon Yi Previn and his sister) on the plane, in hotel rooms, on the streets with appreciative fans, and of course on the stage when Woody's performing his favorite music. It's a pretty safe bet that a good chunk of the paying audience was in attendance not so much to hear the jazz as to catch a live glimpse of their favorite movie star, and that's sort of the case with us, too.

The occasional concert performances are pleasant enough, but they're not the most valuable elements of the movie; for most fans, things really come alive when we get to see Allen being himself behind the scenes: getting jittery while riding in his boat in Venice, getting grossed out at the thought of a dog licking his face, cautioning people at a press conference that he's claustrophobic, struggling with an uncooperative clarinet, and musing over the respect his films receive in Europe as opposed to their indifference at home. It becomes quite amazing to see firsthand just how much of his true persona is actually what he uses to flesh out those crazy characters he plays in all his films. Nowhere is it more evident just how Woody may have wound up so endearingly neurotic than it is when he returns home to New York at the end of the film. It's then that we meet his still-living parents who seem to do everything in their power to discredit him after his long trip; dad is more interested in the quality of the engraving on Woody's overseas awards rather than being complimentary toward the honor itself; mom reminds her son not to think he made it famous all on his own, and doesn't pull punches when she gives her opinion of Woody's choice of woman.

WILD MAN BLUES is not meant for just your average movie lover, but if you're a genuine fan of Woody Allen and his films, you really should catch it. *** out of ****

This film provides a deeper insight into Woody Allen's private life, not to mention a treat for anyone who loves old New Orlean's jazz.

What I found most interesting was seeing Woody Allen as he really is which isn't much different from his characters in his movies. His interactions with people, his humor, his moods, his explanations of himself, seeing his interaction with his parents.

It was very real. Very human. Just what you'd expect from Woody Allen.

Some key quotes:

His wife, Soon yi said: "When she came to see you play, she said that's the most movement she's seen from you from the whole time she's known you."

Woody: "The most movement? What does she expect? I mean, I'm not gonna bob my head and tap my feet when I'm talking about politics or literature or something. I'm not going to keep time. Right? Be reasonable. I'm appropriately animated for a human in the context within which I exist."

Lady: "You are so intelligent. You are so happy to be so intelligent." Woody (jokingly): "Well, yes. It is a burden though sometimes. With this much intelligence comes great responsibility. You know. It's lonely at the top."

In the hotel restaurant walking around: "Oh, there's the band. Oh, my goodness, they're eating like their going to the 'chair'."

"Whenever I travel, I always have to have my own bathroom because I'm crazy. So I always wind up taking an extra room or an extra suite of rooms. Then I can place around all my unctions and vanishing creams and the cosmetics that give me this look."

With his wife at breakfast in their Milan hotel: "You know, this being Milan, I hope our laundry doesn't come back breaded."

"I've got the kind of personality that when I'm here (Europe) I miss New York and when I'm in New York I miss Europe. I just don't like being where I am at any given moment. I would rather be somewhere else. So you know there's no way to beat that problem because no matter where you are, you know what I mean, it's chronic dissatisfaction."

In London with a bad cold: "What a drag. I was looking forward to giving a good show tonight. I don't want to just go out there and make an achievement till I get through the show. I want the show to be very good cause if I'm not good, these people will hate me in my own language."

Wild Man Blues (named after a terrific Louis Armstrong song) shows Woody Allen during his trip to Europe and abroad for a tour with his Jazz band. So the question you might be asking is, how much is shown? How candid does filmmaker Barbara Kopple go into the behind-the-scenes and off-the-stage stuff in the film? One could say not enough, but then how personal can one get with a cinematic heavyweight like Allen? True, it's not always just him that carries the interest in the film; his New Orleans Jazz band (the same, more or less, that gave that hilariously cool score for his film Sleeper) is toe-tapping fun, especially if you like this sort of music (I got into it a little more after watching the Ken Burns documentary), with Eddie Davis the banjo player and director of the group a real treat. It may be odd to say, but despite Woody's talent at the clarinet, it sometimes doesn't bring as much attention for one as does the 'talky' scenes.

And some of these, of course, have the young Soon-Yi Prevlin in tow. This was of course a few years after the whole hoopla went over about the break-up and all. It's curious to see how their relationship goes in the film, what is and what isn't shown, and this is I think when Kopple gets the most personal, even if it's a little uncomfortably so. Indeed, this is an Allen that is not really like the one he portrays in film after film- it does have the moments of humor, and his neuroses are in full view of the lens. But by giving it this extra view, it shows him as much more of a relatable person, or maybe not (the film does show him in Europe as being far more celebrity-like than here). In all, it works best as an objective view of the subject matter, of a director who also happens to be a good musician who enjoys playing what he calls "crude...esoteric music" of old. It is, at least for the Woody admirer, entirely watchable.

If you thought you had be Jewish or from New York to fully appreciate Woody Allen, this movie proves otherwise.

Documentarian Barbara Kopple took her hand-held camera on Allen's '96 European tour, in which he and his jazz band played a whopping 18 concerts in 23 days. She photographed him everywhere but in the "john": in airplanes, hotel rooms, lobbies, receptions, backstage, onstage, in the streets--everywhere.

His deadpan quips and jousts buoy up what would have been a conventional travelogue. You're never sure whether Allen's being serious or satiric, but one finds one's self laughing at nearly all his comments. He's just an amusing guy.

For comedic reasons, it certainly helps that Woody has one of the funniest faces around--even without his "vanishing creme and beauty gel" he comments is amongst his toilitry. As to his tour, this is a chance to see and hear what's been talked about for years. That is, an example of Woody's playing in that certain lower Manhattan pub where he's tooted his "licorice stick"--even being loyal to that group one year rather than bothering to go pick up an "Oscar."

Playing the clarinet since age 15, Allen admits to practicing two hours daily--a "must," he says, "just to keep the chops in shape." It also helps that his playing is "only a hobby, to have fun." Judging from his New Orleans style jazz performance, he's probably being quite honest.

But he also seems to be bringing some extra-musical attributes to his concerts--a whole range of associations with his past creative efforts. All the laughs, pleasures, joys, frustrations, and sorrows associated with his total body of work seem to be reprised as he--now a genuine icon--stands there, slim of body, pouring his heart out in every selection.

Ably assisted by musicians on the trumpet, trombone, drums, piano, banjo and bass, Allen is clearly the star, appearing in a strictly all-musical format. There are only a few words of introduction and closing sentences from him. The rest is ninety minutes of pure music.

How remarkable are his European followers! They simply love and adore him. They mob him outside his hotel, backstage and through the streets as he walks, taking endless photos ("It's the same photo," he quips). They wave ecstatically at him as he takes gondola rides in Venice. The staid English stand and cheer at the end of his London concerts. Nationalistic Parisians drool over his weak attempts to greet them in French.

Europeans also love the more esoteric Allen films, like "Interiors," which flopped in the US. There's no doubt: Woody Allen is an overseas hero. An added final bonus is Allen with his mom and dad in their NYC apartment, they obviously proud of but publicly reserved about their son's accomplishments. "In spite of the fact that you beat me daily," Allen quips to his mom.

We're fortunate to have this 105-minute documentary for posterity. It may prove increasingly valuable as time goes on.

This is a documentary account of Allen's tour of Europe with his New Orleans jazz band. Barbara Kopple directs effectively and seems to have the ability to be there at the crucial moment without the scenes looking staged or faked. I do not know if the film is a deliberate attempt to counter the bad publicity Allen received over his affair with the teenage Soon-Yi. Certainly the now 27 year-old Soon-Yi appears to be the dominant one of the partnership like a kindly but strict mother controlling the behaviour of her naughty child. I particularly enjoyed the breakfast scene in Madrid where she gently scolds Allen for not showing sufficient appreciation to the members of his band. She orders Spanish omelette because it seems to be the appropriate thing to have and then makes Allen eat it because it tastes like rubber. The final scene is fascinating with Allen and Soon-Yi back in New York visiting Allen's parents, both in their 90s. Both parents are dismissive of Allen's achievements and his mother confesses that she wanted him to marry a nice Jewish girl.

Allen's clarinet playing is variable. He seems to be having trouble with his reed throughout the tour. On good nights he sounds like a reasonable George Lewis imitator, on a bad night in Paris he could barely coax a note out of his instrument. The audiences loved him apart from a bejewelled invited audience in Rome that clapped politely and sat wearing bemused smiles throughout the performance

I really love this movie. Woody Allen appears as a very nice man. Other comments are very right, referring to his movie Stardust Memories. I think it's a little bit sad that all these people wants to see him because he's a famous actor and director, and not because of the music he and his partners seems to love so much. That happens to be my favorite kind of jazz (Jelly Roll Morton! Yeah!) and the band are doin' it in a very attractive way. This movie should be just about music.

4 Oscars on his shelf and a great legacy as comedian and filmmaker that goes for more than five decades Woody Allen doesn't need to prove his geniality to anyone. Talented director, actor, writer and very creative, and at times surrounded by some controversial but still a genius. Barbara Kopple's documentary "Wild Man Blues" brings us a little more closer to the man who has a very enthusiastic passion for jazz, playing the clarinet with his jazz band, reason why he never attended the Academy Awards (he only went in 2002 to make a tribute to New York) or any other awards show.

Following Woody along with Soon-Yi, we have the pleasure to watch the director of classics like "Hannah and Her Sisters" and "Bullets over Broadway" on a tour in Europe doing what he likes the most, playing music, showing his skills with the clarinet (and he's a good player by the way) entertaining audiences with the old New Orleans jazz (and boy, he got some really big crowds to his shows, treated like a rock star).

More than just the tour, this is an intimate portrait of Woody Allen, his life and his work, his views on music and films, his relation with Soon-Yi, and even a family breakfast with Woody's parents. There's plenty of space and time to enjoy his hobby and watch the man making jokes all the time, at times a little depressed or a little bit cranky but never being snob or arrogant as some of his written interviews tend to sound. Some shocking revelations such as the fact of Soon-Yi watched all of Woody's films except "Annie Hall"; or when Woody discussed about getting a Life Achievement Award by the DGA when Fellini never got one, he (and us) can't understand that.

Greater than all that is his jokes whatever the occasion, talking about the people he sees on the way ("They won't pay ten cents to see one of my movies, but passing in a gondola, they love it.") or talking to Soon-Yi about the concierge of the luxury hotel they stayed in. It's delightful to see when he talks about the films that failed at box-office in America but are a huge hit all over Europe ("Interiors", "Another Woman", and others). And if you pay attention to his opinions you'll see that most of them will be referred in his future films e.g. When he says about suffering of chronic dissatisfaction. He quoted that in "Vicky Cristina Barcleona". Or the way he richly describes Paris, place where he would make the film that gave his 4th Oscar this year, "Midnight in Paris". It's all there!

Entertainment and reality at its best, "Wild Man Blues" allows us to know a little better about the creator of cinematic masterpieces, presenting the man in a different way than we're used to see (ok, he's less neurotic than the characters he play). Have fun! 10/10.

Here is the famous filmmaker-actor-comedian in a forthright documentary of his touring jazz-band. It's not really his band – but for all intents and purposes it may as well be. If it weren't for Woody this band would just be another New Orleans jazz style band. They certainly wouldn't fill any concert halls across Europe (in fact they wouldn't be there at all).

We see a lot of Woody and Soon Yi in candid conversations – many of them in lavish hotel rooms in Europe (I am not kidding – one has a private swimming pool!). There is a sequence at the end with Woody's parents' in Brooklyn – this is hilarious and looks like it is straight out of one of his films. I have to admit that Woody is quite gracious with his fans who obviously adore him. If you're a fan in any way this is recommended, its' Woody as cinema verite. The only complaint I have is too many performances of the jazz-band.

I don't know how I missed this film when it was released. It's thoroughly enjoyable on at least two levels: the New Orleans jazz and Allen's comic gifts. There's a third level -- the European scenery. It's interesting as a travelogue, if a bit jerky, which is realistic considering the jumping from one city to the next in so short a time. But the thing that stays with me the most is the high quality of Allen's trenchant observations on the passing parade, on mundane matters, such as his thoughts on the note he composes for inclusion in his hotel laundry. I am not a fan of the slick, glib one-liners Allen became known for early in his career, but in this film we have a more mature person, a man who obviously cherishes the relationship with Soon Yi and who respects his parents after life has smoothed the edges of his angst and has enabled him, it seems, to gain deeper insights into the passing parade.

"Wild Man Blues", Barbara Kopple's 1997 documentary about Woody Allen's tour of Europe with his New Orleans jazz band is both rare and interesting on some levels. It was also disheartening on others. Allen, a fairly prolific clarinetist, travels the major cities in Europe with his band, a tour that is an extension of their regular Monday night gigs at "Michael's", a jazz club in New York. Presumably, this is his first tour, and Woody is his regular angsty self, fretting over whether people are there for the music or to see him. While the musicians really stand up in terms of quality, Allen included, it is pretty clear that the majority of the concert attendees are there for Allen the Icon, whose films are immensely more popular overseas than they are here.

The film is not outstanding in terms of production, but more importantly, the camera acts as a fly on the wall perspective on someone who is not particularly comfortable in the public eye. His amazement at the scores of people who attend his concerts, wait for him at the concert hall and outside his hotel is almost comical, and the paparazzi are insatiable, particularly since the film was made a short time after the whole Mia-Woody-Soon-Yi scandal. The scene I found most intriguing of all actually occurs during the last ten minutes of the film, and that is when he returns home after the tour and goes to visit his parents with Soon-Yi and his sister, who accompanied him on the tour. The fact that his parents still feel that he would have been better off as a pharmacist, and that his "acting thing" isn't all that great, yet get defensive when he seems to take sole credit for his creativity was very interesting.

When the Woody Allen "scandal" broke during the 1990's, I was one of his most ardent supporters, an opinion that was extremely popular, regardless of any reasoning. Throughout it all, I couldn't help but wonder what he saw in this woman, but I never questioned his morals in choosing her to be his companion. I just assumed that, being as intelligent as he is, she must be his intellectual and spiritual match. Unfortunately, that image was shattered for me with this film, because she came across not only as completely vapid, but ignorant and not personable at all. She was obviously acting for the camera, and really ended up being a hindrance to the film, in my opinion.

As a documentary, however, Kopple provides us with a good piece of film-making, though it is certainly a niche piece; only fans of Allen or those curious about him will make it through the film, much less appreciate it. 6/10 --Shelly

Wild Man Blues (1997) From the maker of Harlan County USA comes this documentary on the wild and woody Mr. Allen and his new bride. As ever, the filmmaker's eye acts as a scalpel exposing the great Woody like a pheasant under glass. While I can appreciate the skill and quality of what the movie accomplished, I found Mr. Allen in real life to be a rather self-absorbed, petulant personality. In fact, I wish I hadn't seen it, and actually tried to forget it as soon as possible so I could go on enjoying his own movies. As the saying goes, the truth hurts.

Woody Allen and the New Orleans Jazz Band set out on a tour of eighteen cities in seven countries in Europe. Accompanying them is Barbara Kopple, who has been given total access to the musician and filmmaker Allen as he does the shows and the time in between. The end result is a documentary that takes in Allen's love for this rather `crude' form of jazz but also allows for some insights into his personal life, his relationship with Soon Yi and his famous obsessions and neuroses.

I bought this film as a Woody Allen fan and as someone who, while not a fan, certainly enjoys a bit of old fashioned jazz music on a hot sunny night. For both these reasons I enjoyed this film, even though the description of it as a `documentary' is maybe not the most fitting as it implies a certain amount of probing into the subject. Rather than digging, Kopple basically just seems to point the camera and leave it running. She doesn't really ask any questions of Allen or his family and seems content to let him and his companions just talk freely - it made me wonder how many countless hours of footage she must have shot to come up with what she uses here. So if you are looking for insight in Allen then you won't get it here. Likewise, if you are looking for a great deal of discussion or insight into the music then you'll be let down; in this area Kopple also mostly just films the band playing.

That is not to say that the film is bad, because it isn't, but there isn't a great deal of substance to it unless you are Woody Allen fan. As a fan, there isn't a great deal of insight into Allen's life or situation - the conclusion we are left with is no more of an understanding than we started with, that he is a witty little man who is filled with little complexes and neuroses while also being a very private person. The value of the film is that we actually get to see that during the course of the movie. Allen is funny and quite relaxed but a `real' documentary would have pushed harder into the darker issues of Allen's life - many viewers will be annoyed by how the film just accepts Soon Yi without ever really asking any questions or even hinting at the many issues behind their relationship.

Overall I enjoyed this film but then I like Woody Allen's humour and was interested to seeing if his onscreen personae is similar to his real life character. However it isn't really insightful and it is only a scene near the end with Allen and his parents (yeah - I was surprised they were still alive too!) that gives a little background and is interesting. A light, witty and quite enjoyable film but I can't imagine that anyone other than fans of Woody Allen and jazz will get a great deal from this.

A good documentary to better understand how Eoody is in real life. It's like in his movies... He's the same character he plays in the movies. The film shows his passion for music in particular for jazz, it's nice to see that a person can do more things without being labeled as just a director or actor.

The people responsible for this documentary have a problem: they worship Woody Allen and think that absolutely anything he says and does is interesting. Most of the things he says or does _here_ are really not of much interest, even for a fan like me. There are no real interviews of anyone else - they merely co-exist in the shadow of the Great Genius. The result is that the film becomes very monotonous and staying awake becomes a challenge.

Worst of all, the filmmakers seem to hate the music involved, or at least not to understand it: they always cut away at wrong places. I would have preferred much more music and less of Woody talking.

Come to think of it, WA himself occasionally has the same habit of over-emphasizing himself. Every time I come across "Everyone Says I Love You" I get more and more annoyed of his painfully unfunny romance with Julia Roberts, knowing that interesting musical numbers were cut from that film.

"Wild Man Blues" is a truly entertaining documentary about Woody Allen touring through Europe with his New Orleans Jazz Band. Every Monday they use to play at Michael´s Pub in Manhattan. It took a long time until Mr. Allen was persuaded to leave New York and to play in European concert halls, he knew too well that people would come to see him and not because of his inspired clarinet soli. Director Barbara Kopple accompanies him during his concerts and even into his luxurious hotel suites. Not unexpected it turns out that Mr. Allen has strange travel habits. The best moments of the film are when the people that always surround Allen never cease to to express their admiration for him, just like they do in his movie "Stardust memories"(1980) which was a disaster. His fans realized that this satire was directed at them and they recognised themselves in the characters of "Stardust memories". Kopples film reveals that Allen has learnt to live with them. He reacts with a warm smile and a little bit of sarcasm when every day he is told a dozen times "you are the greatest, I love your movies, mostly your earlier and funny ones, why can´t you go on making funny movies...". However, "Wild Man Blues" is a very funny film.

I would not recommend this to even die-hard fans...unless you love jazz. There is a lot of jazz, some nice footage of Woody playing. But don't expect him to discuss his films. And then you have the glimpses into his personal life, with Soon Yi. More than I really cared to know. There are a few comments he makes that solidify his reputation as being reclusive, and not a particularly nice person. I thought of Kathleen Turner's infamous (and possibly career-killing) quote: "Fans, who needs these people?" Watching this movie is like eavesdropping--I can understand why this is not on DVD. Unlike Madonna, this documentary is not meant to boost sales or exposure. He has some big fans overseas (more overseas than in the States, it would seem). So this movie plays to them, and to jazz fans perhaps. But not to anyone else. And this is coming from a real fan of his work. You can skip this.

Offered as a candid, behind-the-scenes look at Woody Allen away from the sound stage, this "documentary" is about as real as one might expect with a camera following the principals everywhere (well, almost everywhere). Woody, in particular, seems inhibited by the camera's presence; there are no "private moments" - at least not after the footage was edited - and no hint of frustration, boredom, fatigue, or any other negatives that would inevitably arise during a tour that involved constant travel. Picture the full scene of the small talk between Soon-Yi and Woody in the gondola - i.e., not just the two of them and the discreet gondolier, but the cameraperson and soundperson a few feet away, filming and recording these supposedly spontaneous, uninhibited comments.

A more rounded (that is to say, less selective) portrayal of Woody obviously would not have been altogether flattering. The finished product raises the question of what Woody & Co.'s purpose was in producing this film. Anyone who views it expecting a "show" with angst, gags and the rest of the Woody Allen package will be as disappointed as were members of the audience at the jazz concerts who expected something more than just clarinet playing.

If it had been trimmed to about an hour (by removing some of the jazz) this film would have been very enjoyable. As it was, the natural, but dry, social humour of Woody Allen is annoyingly punctuated by long excerpts from indifferent performances. The best bit comes right at the end, back in New York after the gruelling whistle-stop tour of Europe, where there is some tickling repartee and friendly needling between him and his folks (who look about a billion years old). Only for die-hard Allen fans, who need a peek at the "real" person behind those heavy specs.

I always knew that Woody Allen had a Jazz band. I think anyone that has seen more than five of his movies probably knows that. Many of his films claim that the recordings for the soundtracks were done by Woody Allen and his band. I like the music his band plays. I'm not very familiar with New Orleans Jazz or Jazz in general. But, I still think I can understand and enjoy it the way Woody Allen says he enjoys it.

This movie is a complete train wreck. I remember Francis Ford Coppola was contemplating suicide on film because he thought Apocalypse Now was going to turn out to be a complete and utter failure or an unfinished project. I could imagine the director of this documentary coming to the same conclusions.

The problem is, Woody Allen is a more interesting character when he is writing or performing. Watching this movie shows us how average his life is (when taking into account the small things that make up life). This movie could have just as well been about a plumber unclogging pipes, or a mail man delivering mail. I don't see what makes a movie about a famous director staying in hotels grasping in any intellectual, philosophical, or emotional fashion.

And that is basically what this movie is. Its him and his wife staying in hotels, going on airplanes, and doing gigs. The gigs eventually get as boring as the airplane rides. The movie feels more like a reality show than a documentary. Do we care that hot water was not working in Woody Allen's hotel? Do we care that he would rather get bitten by a dog than licked by one? Do we care about the omelets Woody Allen's wife orders for breakfast? If any of use answered yes to any of those questions, maybe we should re watch some Woody Allen movies to see the qualities that we were most certainly missing.

Wild Man Blues (1997) Does life imitate art? Soon-Yi Previn Allen (Woody Allen's wife) tells him at breakfast (minute 21 of the 1 hr 45 minute movie) that Woody should tell his entire band and not just the intermediary that they are good. Soon-Yi says that Woody appears to be a little crazy by not addressing everyone, when they are there in the room with him.

"You were talking only to Eddie Davis… You look like a crazy."

However, this is a bit like his film of 30 years ago "Bananas"(1971), where the translator interprets by repeating word for word what the person says with a slight accent: "Welcome to my country" "WelCOME to my Coun-Trrree", etc.(Note: I am doing this from memory of 30 years ago -- I think / hope I'm right.) Then the translator is chased with a butterfly net by insane asylum attendants. (The point is: The people around the translator hear the same thing repeated, just like Woody's comments are repeated by his band's intermediary.)