Predating Forrest Gump (1994) by more than a decade, this delightful mockumentary about a nebbish who inserts himself into some of the most important historical events of his time is a fun departure from filmmaker Woody Allen's usual ensemble comedy-drama format. At the same time, all of Allen's obsessions are present: a fondly nostalgic vision of New York City's past, jazz, psychotherapy, and a magical high-concept twist. Fans and reviewers tended to focus on the film's groundbreaking photographic effects at the time, as Allen's character is inserted seamlessly into still images and archival motion picture footage from the era. It's a superb job and difficult to tell scenes that have been digitally altered from ones that have been re-created (one must look closely at the Nazi rally to realize that's not Adolf Hitler at the podium). However, an Allen picture wouldn't be the same if it did nothing more than scratch an impressive surface, and the Woodman doesn't disappoint with a story that's really a potent fable about self-respect and individuality in the face of oppressive conformity. At less than 90 minutes, Zelig (1983) may be too slight to rate alongside such Allen classics as Annie Hall (1977), Manhattan (1979), Hannah and Her Sisters (1986), and Crimes and Misdemeanors (1989), but this likable, funny project is certainly at the top of the artist's B-list.