Wonderful character development!

Very disappointed :(

Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

During the 20's, Leonard Zelig (Woody Allen) becomes a popular sensation. He's an unassuming person who seems to fit into any situation. He is taken to a mental hospital where he's misdiagnosed. Dr. Eudora Fletcher (Mia Farrow) is more compelled by the new patient and diagnose him as a "human chameleon". She treats him as his fame grows. Then he disappears and resurfaces in Nazi pre-war Germany.I don't get it. It's definitely not funny to me. Woody Allen creates a faux documentary using the old fashion style. It's an intriguing idea but with no voice, Zelig is a mystery. He is not compelling. I can't get a handle on the character. This could be an intriguing drama but there is not a single laugh or even a single smirk.

...as well as among the better half of his filmography. It does drag a bit and the earlier parts occasionally ramble too much, but Zelig is still a truly great film. Technically Zelig looks fabulous, one of his better-looking and most interesting early films along with Manhattan and The Purple Rose of Cairo. And it's actually more interesting in this regard than either of those films, because among Allen's films it's his most unique and ground-breaking. As far as I can recall, none of Allen's other films use the technique of inserting a character(in this case Leonard Zelig) into existing footage like newsreels and archive photos, and so cleverly. Well, What's Up Tiger Lily? had a dubbed over commentary over an existing mystery film but with mixed results and that's not really the same thing. The music suits the period brilliantly and gives the sense that you are there, it's great-sounding and memorable too. The screenplay is among Allen's cleverest, it's laugh-out-loud funny but also very poignant with the romantic parts really sweetly done. It's also very intelligent and has a lot to say on the issues that it deals with. The characters are not as neurotic as in some of Allen's other films, though they are unmistakably Woody Allen. They feel real, and I did find myself relating to Zelig in his struggles and desire to fit in(that was exactly the case with me in school), the characters' relationships and chemistry were more than believable. The story is heartfelt, funny and makes great use of his mockumentary style, there are some rambling moments but not to an interminable degree. Allen directs thoughtfully as ever, and he gives a great performance that is among his most physical, energetic and relatable. Mia Farrow also gives one of her most sympathetic performances, and is touching in doing so. In conclusion, a great film that deserves more attention, despite the high rating and reviews holding it in great esteem elsewhere people talk about Annie Hall, Crimes and Misdemeanours and Manhattan as well as more recent stuff like Midnight in Paris and Match Point but Zelig is rarely talked about and that's a shame because people are missing out on Woody Allen at his most unique. 9/10 Bethany Cox

I'm starting to think that I've underrated Woody Allen. Sure, he can make some half-hearted stinkers but his good stuff is the best of the best. It's remarkable how he can take this simple surreal idea and have it blossom into a unique experience with a mockumentary style. Not only is it profound and heartfelt, but also hilarious every time Zelig's chameleon-like condition effects him. From the plot line, I thought it was some kind of gimmick, but the fact that it's involuntary and Zelig is played as such a blank and naive slate makes him brilliant and sometimes quite relatable. It touches on one of the greatest social dilemmas of the human condition. Blend in at the expense of personal identity or be opinionated and ostracised? This idea hits the gut. Hard.The cause-and-effect of Zelig's condition is highlighted by its broad stroke documentary style where information is given by a narrator or talking head interviews. Consequences are shown immediately and allows the film in its 70 minutes runtime to explore a vast amount of detail, especially in studying celebrity culture and how icons are embraced then ignored. We only get snippets of Zelig himself which are often Allen delivering sharp punchlines but it's Mia Farrow's involvement that gives it a heart. I usually don't feel too engaged by Allen's romances but this one I really wanted to see them get together. With its technical prowess in its innovation matching its profound ideas and creativity, this is one well-rounded picture and one of Allen's best works.9/10

Technically, "Zelig" is brilliant. Others have explained how and why in lengthier terms. It's an ambitious experiment from Woody Allen, who seems to have gone through with it just to prove that he could do it....and he was right. However, it's also one of the last films that I would recommend to someone new to Woody Allen to start with - yes, I consider it more difficult to "get into" than "Interiors" or "Stardust Memories". The main problem is summed up by the movie itself, when the narrator (a magnificently deadpan Patrick Horgan) calls Zelig a "nonperson": it's hard to stay interested in a movie where the main character has actually no character (in fact, he barely even speaks) at all, at least in the first half. It's no coincidence that "Zelig"'s most enjoyable scenes are those where Woody slips back into his usual persona while Mia Farrow attempts to hypnotize and psychoanalyze him, and throws 2 or 3 (but no more than 5) hilarious lines (my favorite: "I teach a masturbation class, and if I'm late they start without me!"). Woody's point ("Be yourself") is a valid one, but you'll get it quickly, and then you'll mostly be left to admire the film's technical brilliance. One thing that does shine through is Allen's love for cinema itself. **1/2 out of 4.