"... is it so inconceivable that after many years of this indoctrination the image of me Mia wanted to establish had taken root? Is it any wonder the experts at Yale had picked up the maternal coaching aspect 21 years ago? Even the venue where the fabricated molestation was supposed to have taken place was poorly chosen but interesting. Mia chose the attic of her country house, a place she should have realized I’d never go to because it is a tiny, cramped, enclosed spot where one can hardly stand up and I’m a major claustrophobe. The one or two times she asked me to come in there to look at something, I did, but quickly had to run out. Undoubtedly the attic idea came to her from the Dory Previn song, 'With My Daddy in the Attic.' It was on the same record as the song Dory Previn had written about Mia’s betraying their friendship by insidiously stealing her husband, André, 'Beware of Young Girls.' One must ask, did Dylan even write the letter or was it at least guided by her mother? Does the letter really benefit Dylan or does it simply advance her mother’s shabby agenda? That is to hurt me with a smear. There is even a lame attempt to do professional damage by trying to involve movie stars, which smells a lot more like Mia than Dylan."
One paragraph in the long "Woody Allen Speaks Out," published by the NYT last night. Read the whole thing. It's quite cohesive and devastating, these words of a man who lets loose after holding his tongue all these years while a woman who passionately hates him sent her words flying everywhere.
Woody Allen's argument builds in a series of paragraphs, and I'm not choosing the most persuasive one to highlight, just the one with a striking item of evidence that I'd never seen before, "With My Daddy in the Attic," right there on the album with the song Dory Previn wrote about Mia, "Beware of Young Girls."
The psychodrama of Woody and Mia is mind-bending. Both of them lavish pity on the children who got caught up in their vortex, each blaming the other for hurting the children, each claiming to be the one who has struggled all these years to save the children.
Woody must have known the structure of Mia's psychology very well. He used her tender fragility in so many of his movies. She was his muse during the height of his artistry. Then he did something — suddenly letting her see he'd transferred his sexual love for her to her daughter Soon-Yi — and there's no denying that part of the story and Woody's active role unleashing Mia's wrath. I could believe every word of Woody's story and still think: You knew her, you understood her so deeply, you connected to her through children, and you made her crazy and vengeful.
It's no great wonder that he kept quiet all these years and that he ends his speaking-out with a vow never to speak about it again. "Enough people have been hurt." Surely, that much is true.
And now back to the movies, the made-up stories, the actors and actresses pretending to wound each other deeply and to spiral into evil, vengeful rages. Have you seen "Blue Jasmine"? It's wonderful. Cate Blanchett in the lead role of the sensitive blonde who comes unhinged, the role that would always go to Mia, back in the days when she was Woody's muse and had a lock on every lead.