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In the 1984 novel The Boys on the Rock, by John Fox, a 16-year-old student relays scandalous information about a pair of identical twin brothers on his high school swim team. “I was forever hearing rumors about them being incestuous and things like that from guys who didn’t even know them,” the narrator reports. “They got called pretty insulting things right to their face but they didn’t give a shit.” On this the teenager offers clarification: “I don’t mean they just pretended not to give a shit, I mean they truly did not care what anyone thought about them.”

This passage resurfaced from the depths of my consciousness recently while I read every extant interview with Woody Allen I could get my hands on, though I’m not alluding to sexual innuendo about the director. Yes, Allen did seem oblivious to the uproar that ensued in January 1992 after Mia Farrow — his longtime romantic partner and the star of 13 consecutive films under his direction — discovered in his Manhattan apartment racy photographs of her 21-year-old daughter Soon-Yi Previn, whom Allen later married. Eric Lax, whose updated Conversations with Woody Allen (2009) is the most recent edition of book-length Allen interviews, dealt with the Soon-Yi material previously in the revised 2000 edition of Woody Allen: A Biography. “Woody has a remarkable ability to compartmentalize his life,” Lax wrote then of the custody battle that ensued over Farrow and Allen’s three children. By so saying, Lax seems to have originated what is now the most oft-repeated maxim about the filmmaker: in Woody Allen: A Documentary (2012), the director Robert B. Weide assembled a brief montage of Allen’s friends and colleagues, each repeating the same line about Woody’s ability to compartmentalize his life. All evidence points to Allen similarly taking this compartmentalization approach toward allegations that he sexually molested his and Farrow’s seven-year-old daughter.  (After an investigation, the police brought no such charges against the director.) Allen himself explained at the time of his legal wrangling that, in all the months of public and private turmoil (which cost him $7 million in lawyers’ fees alone), he was not distracted for a moment from his creative work. When he informed his friends of this fact, they thought something was wrong with him — that he had a surprising lack of feeling, as Allen phrased it. “But it isn’t so,” the director insisted. “I had the appropriate feeling at the time, but my work is a separate thing.”

More… “The Teflon Director”

Myles Weber is the author of Consuming Silences: How We Read Authors Who Don’t Publish. His literary criticism appears frequently in such journals as The Georgia Review, The Southern Review, New England Review, The Kenyon Review, The Sewanee Review, Salmagundi, and Michigan Quarterly Review. He is an associate professor of English at Winona State University in Minnesota.
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