Writes Roger Ebert: About twenty minutes into Woody Allen’s The "Purple Rose of Cairo", an extraordinary event takes place. A young woman has been going to see the same movie over and over again, because of her infatuation with the movie’s hero. From his vantage point up on the screen, the hero notices her out in the audience. He strikes up a conversation, she smiles and shyly responds, and he abruptly steps off the screen and into her life. No explanation is offered for this miraculous event, but then perhaps none is needed: Don’t we spend our lives waiting for the same thing to happen to us in the movies?
Life, of course, is never as simple and dreamy as the movies, and so the hero’s bold act has alarming consequences. The movie’s other characters are still stranded up there on the screen, feeling angry and left out. The Hollywood studio is aghast that its characters would suddenly develop minds of their own. The actor who played the hero is particularly upset, because now there are two of him walking around, one wearing a pith helmet. Things are simple only in the lives of the hero and the woman, who convince themselves that they can simply walk off into the sunset, and get away with this thing.
The "Purple Rose of Cairo" is audacious and witty and has a lot of good laughs in it, but the best thing about the movie is the way Woody Allen uses it to toy with the very essence of reality and fantasy. The movie is so cheerful and open that it took me a day or two, after I’d seen it, to realize how deeply Allen has reached this time. If it is true, and I think it is, that most of the time we go to the movies in order to experience brief lives that are not our own, then Allen is demonstrating what a tricky self-deception we practice. Those movie lives consist of only what is on the screen, and if we start thinking that real life can be the same way, we are in for a cruel awakening.
The Complete Review Here. http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19850301/REVIEWS/901069998/1023