During editing of Woody Allen’s 1971 political farce Bananas, the film originally culminated in a startlingly provocative sequence: Fielding Mellish would be invited to deliver a revolutionary speech at Columbia University and then emerge from an explosion in blackface. The idea survived far enough into post‑production that it had to be confronted in the cutting room — and it was co‑editor Ralph Rosenblum who ultimately persuaded Allen to abandon the gag. Rosenblum’s intervention prevented what would have been an incendiary, racially offensive punchline from reaching audiences, sparing the film from a late‑breaking scandal in an era already prickly about satire and race. The anecdote has persisted in Allen scholarship (notably Julian Fox’s Woody: Movies from Manhattan) as an example of how even boundary‑pushing New Hollywood comedies were policed internally by collaborators who feared reputational and ethical fallout.
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