I think most would agree with me that Sweet and Lowdown achieves greatness, Pash. (P.S. Glad you liked BDR.)
–Cliffy
One could say that it’s the best in the world…well, except for this Gypsy.
Hey, I loved S&L, and wouldn’t argue it’s greatness with you. But for me, it’s just on the cusp.
Dangit, Cliffy, are you going to make me watch this one again, too? 
Much as I like Deconstucting Henry, it’s probably not a good way to get back to Woody. Henry is such a nasty bastard that it can be very offputting.
Bullets Over Broadway covers the same ground, but it much more charming and fun. “Don’t speak.”
If you’re counting Brooks, don’t forget Preston Sturges. He was writing and directing and won an Oscar in 1940. He even did some acting later on (and Brooks didn’t appear onscreen until after his Oscar win).
And, of course there’s Orson Welles, too. Definite triple-threat, including an Oscar for Citizen Kane.
But, of course, none of these three won a best director Oscar – they were all best screenplay.
If you want to go back that far, don’t forget Charlie Chaplin. Laurence Olivier in the 1944 Henry V, the 1948 Hamlet and the 1955 Richard III. And Buster Keaton in the silent era.
But Jerry Lewis was the first to take that kind of control over his movies in the post-studio era. I can’t stand to watch him any more, but I have to give him props. He was even producer on several of his movies.
From the books, and/or pieces in the New Yorker:
“The fact that you tell me I have no rooks means little in actuality when I need merely glance down at the chessboard to see them darting about with cunning and vigor.”
“Because you were white and had the opening move (had I known your limitations I would have spotted you more.”
“I assure you, all my meals have now become pleasureless experiences.”
No one’s mentioned Everything You’ve Always Wanted to Know About Sex… yet?? Burt Reynolds saying, “Alright we’re gonna try to bone her right there in the car” makes everything right with the world. And Gene Wilder with his sheep… “I’m a doctor, dammit… Call me doctor, not waiter!”
I’m not so much a fan of Woody’s theatre ventures, although there’s an obscure one-act called God that’s hilarious. Fans who think they’ve read or seen all of his work should check it out.
Almost a case of crap and crapper to me - with Small Time Crooks being crapper, but that may be because my compatriots Grant and Ullman had the potential to be so much better than they have been in Hollywood.
His “prolificity” is incredible. Just saw the director’s comments on The Life of David Gale, and Alan Parker said he’d made 14 films in 28 years. Not strictly comparable directors but both lean towards the less commercial “personal-project” type of director.
Excellent point. Crimes and Misdemeanors is perhaps the exception that proves the rule? (Or maybe you were thinking of this movie as the one that is the exemplar of your hypothesis?!) Maybe one can use that well-used academic get-out of a cline or continuum to avoid having to assign the category comedy or serious (drama?) to Allen’s movies.
Ah, it’s wonderful to spout suich pretentious crap. I feel I’ve gained some kind of entry into Allen’s psyche through this discussion!