According to Julian Fox’s biography Woody: Movies from Manhattan, Bananas originally closed on a far darker and offensively timed joke: Fielding Mellish, after being invited to give a revolutionary speech at Columbia University, would emerge from an explosion in blackface. The intended gag—an abrupt, grotesque visual punchline in the film’s absurdist mode—survived through script pages and early edits before co‑editor Ralph Rosenblum intervened. Rosenblum, a veteran editor who had worked with Allen on earlier projects, convinced Allen that the gag crossed a line and would undercut the film rather than elevate its satirical bite. The result was a reworked ending that avoided the spectacle entirely.
The episode reveals how close Allen came to a moment that, even by 1971 standards, would have been widely criticized as racist and tone‑deaf. It also underscores the power that editors and collaborators have in mediating a director’s impulses—especially in the transitional New Hollywood moment when boundary‑pushing comedy often flirted with genuinely harmful tropes. While the scrap was never publicized widely at the time, biographers and film historians later pointed to the change as an early instance of internal studio/creative gatekeeping that spared Bananas an ignominious legacy; still, the anecdote has circulated as a cautionary footnote in discussions of Allen’s comedic excesses.
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