All the films from all the editions, including those subsequently removed, presently totalling 1154. An easy way of seeing how…
Hannah and Her Sisters
Between two Thanksgivings, Hannah's husband falls in love with her sister Lee, while her hypochondriac ex-husband rekindles his relationship with her sister Holly.
Here's what's weird: I can now see in this old favorite the seeds of everything I dislike about his recent films. Much of the dialogue is clunkily expository and/or tin-eared; supporting characters (e.g. Daniel Stern's gauche rock star) often function as straw-man caricatures; source music is used as a cudgel. Yet it's mostly glorious, and I spent the whole damn movie trying in vain to pinpoint the difference. In the end, I think Tarantino may be right, at least in this case and some others: Woody's just old now, and his work has become correspondingly creaky, with its highs diminished and its flaws hugely magnified. In any case, he was unmistakably at the top of his game here—though he's…
This movie is full of great scenes and great performances
Woody Allen's monologue at the end steals the film.
Another masterpiece by Woody Allen.
Woody Allen really is a fantastic writer and director, we all know that. He is always able to create amazing characters, fantastic dialogues, simple stories with situations that could happen and real life and none of his stories ever felt forced. All feel real and actually very believable. Hannah and Her Sisters is no exception.
An amazing comedy/drama script, that tell us the stories of multiple characters all connected because of three sisters Hannah, Lee and Holly. Family interations, romances, dramatic discoveries or even hilarious moments it's what you are going to find throughout the story.
All of the performances are absolutely fantastic, everyone is able to play their parts in the perfect way possible. Dianne Wiest, Woody Allen himself…
On some days, this is my favorite Woody film, edging out Annie Hall just slightly and the tipping point has to be Michael Caine. He transforms himself into the antithesis of Jack Carter. The Woody dialogue rolls off his tongue so naturally, it's a shame they never worked together again. Every little mannerism and insecurity goes noticed, but it's never pompous or showy. He's playing a man in midlife crisis with secrets and desires that he cannot express clearly and he is a fully fleshed character.
The whole cast is on fire. All their interactions and inner monologues are lived in and their midlife woes and sorrows feel instinctive and driven and they all have arcs that leave them somewhere…
Performances : 7.4/10
Story : 8.4/10
Production : 8.2/10
Overall : 8/10
"Jeez, I should stop ruining my life searching for answers I'm never gonna get, and just enjoy it while it lasts. And after all, who knows, I mean maybe there is something, nobody really knows. I know 'maybe' is a very slim reed to hang your whole life on, but that's the best we have. And then I started to sit back, and I actually began to enjoy myself."
Hannah and Her Sisters contains one of the best ensemble casts that I've seen in a while. No offense, August: Osage County, but for a good time I'll take Woody, Farrow, Fisher, Caine, O'Sullivan and Max von Sydow any…
Or rather, Hannah and Her Sisters and Woody Allen's Loosely-Related Character Who's Afforded the Screentime of a Less Loosely-Related Character by Virtue of Being Played by the Director.
It seems to me that this is not so much the best Woody Allen film (Annie Hall) nor the most original (The Purple Rose of Cairo) as it is the quintessential Woody. There's a large cast of neurotic artists (including Mia Farrow and Dianne Wiest), a bevy of loving/semi-pornographic shots of New York locales, an episodic structure, one-liners galore, plenty of marital discord, heartwarmingly inappropriate affairs, Woody's inability to have sex properly, a life-affirming love of film, attempts to identify with religion (and subsequent failures), and a host of smart-but-not-obscure literary, theatrical,…
Written as a cumbersome super-ensemble that preposterously races to tie all the characters up in linear happiness, like what Love Actually unapologetically machinates to get the tears flowing. But Woody is thankfully above socketed euphoria, the characters' happiness, although achieved, coming at the cost of honest compromise, in subduing lust and jealously and paranoia. The structure, interestingly, is a paradox of perennial gatherings and free-flowing escapades, like Manhattan's wandering time-gap neurosis but with more chaos, while the autumn-set New York neighborhoods breath a yearning, an elegant melancholy that Allen humbly affixes to Michael Caine - an actor far above Allen's talents, who can convey a broader dissatisfaction, a penetrable world of deep-seeded heartbreak beyond Allen's acquired eccentricities, eliciting by end a truthful take on the void-filling bustle of life's middle stages.
My problem with this movie is Hannah's character: she never comes across as a convincing human being, everyone else feels far more complex, while she's just there. I'm guessing this is part of Allen's idea for the script, having her as a passive observer, but it just felt wrong.
It contains the elements you might expect from a Woody Allen film at their very best. It is so charmingly funny and dramatic simultaneously. Very nicely done from Woody.
"Maybe the poets are right, maybe love is the only answer."
I felt Hannah and Her Sisters carried a more compelling story than any other Woody Allen film I've seen, but from a cinematic standpoint I felt it was all over the place. Allen seemed to lack confidence in his own ability to convey emotions through visuals, or he felt underwhelmed by the actors he'd cast, either way there was a constant reliance on voice-over/thought-tracking as if I were watching a junior school drama production. The voice over and the emotions they were attempting to convey were so forced and heavy handed I felt all subtly was lost in this film. The very thing I compliment about Manhattan, Allen's ability…
I may still require the context to properly place Woody Allen's films inside his sizable filmography but his certifiable hit Hannah and Her Sisters seems caught between the anxious paranoid comedy that Allen has made so undeniably effective and the poignant observations of a set of romantic lives in New York City. So much so that the film largely feels like two separate stories Allen haphazardly graphed together. But what is frustrating about this dichotomy is that both portions are actually rather fantastic, with both stories hitting the perfect tone for their respective aims.
Fittingly, Hannah is played by Allen's now former wife/muse Mia Farrow, a strong matriarchal woman who takes care of her adoptive children and her husband (Michael…
HANNAH AND HER SISTERS is in the top echelon of Woody Allen films. There are few that compare to how funny and bittersweet and just perfect this film is. Mia Farrow plays Hannah but the film is really about her sisters Lee (Barbara Hershey) and Holly (Dianne Wiest). Lee is with Fredrick (Max Von Sydow) in a romantic/mentor relationship. However Hannah's husband Elliot (Michael Caine) has a huge crush on Lee. Meanwhile, Hannah's ex-husband and close friend, Mickey (Woody Allen) despite being a hypochondriac has a very close brush with death. Mickey looks back on his life including a failed date with Holly. He also decides that it's best that he looks at different religions because he may not die…
'What if there's no God, and you only go around once, and that's it? Don't you want to be a part of the experience?'
Every time Woody Allen makes something halfway decent these days, he’s made ‘one of the best films of his career’ according to some, yet it’s been more than a decade since the dude came even close to touching the ankles of his 70’s and 80’s work. He still had something fresh and novel to say back then. I miss that Woody.
When I started watching Woody Allen's films I assumed most were something like this, having seen over a dozen, I've only come across three that really fit my idea what I was expecting from "a Woody Allen film" Annie Hall, Manhattan and now Hannah and her Sisters, some of my favourite Woody Allen films are not quite the sort of films I was expecting at all. There are multiple plot strands going on in this film mainly centring as you would expect around Hannah (Mia Farrow) and her siblings, Woody's character (Hannah's ex-husband), gets perhaps more screen time than he deserves, which is often only tenuously linked to the main narratives, in fact it often seems his scenes are from a totally different (if very funny) movie.
Another honest and funny semi-biographical depiction from Woody Allen. - Perhaps the biggest narcissistic mess of his career.
A lot of characters is included in the story, all of them representing the narcissistic and naive lifestyle associated with Woody Allen. His introspection and self-ironic humor, which often form the basis of his works is, as I've said before, very respectful. The chaotic story featured in Hannah and Her Sisters actually is the perhaps most chaotic I've seen this far. Even though such plots often can be very tiresome, it always feels fresh coming from Allen. Knowing that this chaos really is what he is living in, makes it feel really honest, and makes it so much easier to laugh at.…
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- The Racket
- 7th Heaven
- Sunrise: A Song of Two Humans
- Chang: A Drama of the Wilderness
Every film that has ever been nominated for an Academy Award in any category. Enjoy!
- Citizen Kane
- 2001: A Space Odyssey
- The Rules of the Game
- Tokyo Story
Another year, another update. 2012 List can be found here.
The following is a really extensive and great list of…