The most instinctive pursuit is to be liked, and a little less to not be hated by "others"; but the best is to be hidden in the city and unobtrusively integrated into worldly life. - Leonard Zelig, who made Woody Allen This kind of character played by himself, with an almost genius and absurd "ultimate adaptor" ability, perfectly integrates into the colorful world (1920s / American Jazz Age) with changing interests and fast-moving opinions.
The camouflage of self-protection can change in various ways depending on the time and place - the metaphor of the human-shaped chameleon has a shadow of Kafka. As a natural fodder for the gimmicks and headlines that the media flock to - is he suffering? What was he thinking about? Why is he behaving like this? Nobody really cares except Dr. Eudora Flectcher. The doctor's professional instincts and analytical abilities pry open Zelig's twisted and painful psychological world, but only love based on understanding and tolerance has truly great redeeming power. The small climax is about the reshaping of Zelig's spiritual and personality system - little by little, some ups and downs, like a normal person, living his own life. As for why the doctor fell in love with this patient who did not look like a patient? I think it is another spiritual world. Bad old man not to talk about.
A pseudo-documentary written, directed and acted by oneself, it is nonsense in a serious way, but it makes (me) a few tears in the middle. It turns out that if you're a full-blown psychopath, you do have a lot of power.
View more about Zelig reviews
