Douglas Brode’s updated edition of Woody Allen: his films & career begins with a concise “interpretation of Woody Allen” and then chronicles his career one film at a time from What’s New, Pussycat (1965) to Hannah and Her Sisters (1986). Brode does not present much analysis or opinion in his description of the different films, but manages to succinctly offer an inclusive recount of the development of each film as well as a summary, though somewhat superficial. He provides an extended cast and credit list for each film and specifically addresses the roles that many of the key players perform in the motivation and creation of each film. As per the description of Annie Hall, the text is significantly enhanced by the inclusion of incredibly evocative and telling still photographs from the film. The description itself addresses the renaming of the film to Annie Hall after United Artists refused to let Woody Allen use his original title of Anhedonia. Brode also confronts the issue of feminism and the message that Woody Allen is trying to convey about the role of women in relationships through his depiction of the relationship between Annie Hall and Alvy Singer. Alvy’s narcissistic tendencies and the allegation that Annie Hall glorifies and promotes a narcissistic culture are noted in this section, but never analyzed. The section on Annie Hall establishes the functionof this particular film within the framework of Allen’s other films. Brode looks at how Allen’s earlier films such as What’s Up, Tiger Lily (1966), Take the Money and Run (1969), and Bananas (1971) influenced Annie Hall. Many features of these earlier films can be seen in Annie Hall, but conversely, Allen makes significant strides between these earlier films and Annie Hall, and therefore the film marks major progress in both Allen’s narrative and cinematic form. Brode also reveals the way in which Allen uses inspiration from Annie Hall in many of his later films.