Woody Allen's Sweet and Lowdown, though it partly recalls Depression-era works such as Zelig and The Purple Rose of Cairo, has a different look from the director's other films. Allen eschews black and white for this mockumentary tale of a gifted yet self-defeating jazz guitarist (Sean Penn), instead restricting the palette to a range of delicate reds, golds, and greens, like early two-strip Technicolor. The movie's images are also filtered through a fine diffusion that stands in contrast to ...
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