Excerpt from Essay:
Purple Rose of Cairo
Hard woody Allen’s film The Violet Rose of Cairo is a Depression-era history about a lonesome, daydreaming girl in New Jersey who she seeks haven from the blues of her life in the movies. Mimicking the rhapsodist films created during the depressive disorder, The Violet Rose of Cairo works on two levels, both as being a critique of escapist Hollywood films and a adoringly rendered agreement of those exact same films. By approaching their subject matter this way, the film is able to shell out homage to a earlier genre without dropping into the uncritical trap of nostalgia.
The film starts on an evening like any other when, following her switch at the regional diner, the primary character Cecilia heads for the local cinema to see so that is seemingly the umpteenth time a movie called (like Allen’s film itself) The Purple Rose of Cairo. The fictional Purple Rose of Cairo is an adventure-romance following the explorer Wyatt Baxter, when he searches Egypt for an ancient royal burial place allegedly that contains within that a wealth of delightful purple tulips. This time, however , as Cecilia looks up wide-eyed at the screen, reciting lines combined with actors, an extraordinary things happens: the dreamy Ted Baxter addresses Cecilia and steps out of the screen. Cecilia and Allen leave the theater and progress by using a traditional film romance because Ted’s deficiency from the movie causes complications. Eventually Cecilia must select from Ted the smoothness and the actor who performs him, eventually choosing the actor or actress (who proceeds to keep her).
The film the two pays homage to and pokes fun at the nature of the relationship between fine art and the impressionability of the art-consumer, especially since that relationship is played out among Hollywood and its fans. Being a satire of the formulaic Hollywood adventure/romance, the Purple Rose of Cairo within the film portrays actors who perform by marque the same society-types embroiled in the same scandals from one motion picture to the next. For Allen, this really is a criticism and an affirmation of the Hollywood equipment: the movies can be typical, foreseeable, maybe also sometimes stagnant, but they are also as reliable as an old friend. In Cecilia’s circumstance, she sees that she will get the emotional comfort and the nourishment her imagination requirements in these videos, because it is specifically their familiarity which provides her such comfort and ease.