Every film from Roger Ebert's "Great Movies" essays.
Woody Allen's New Comedy Hit
A divorced New Yorker in his forties who is dating a high-school girl falls for the mistress of his best friend.
Film #3 of Florin's Recommendations
“I feel like we're in a Noel Coward play. Someone should be making martinis.”
Isaac Davies is the typical Woody Allen character, an underachieving intellectual who is not confident enough to do what he wants to do in life, someone who is living a romantically –and of course sexually- problematic life and seems to struggle with the endless complexities of human relationships, someone who has always been one step away from achieving success but the fear of rejection and the lack of confidence have kept him from reaching greatness and happiness, an individual who is desperately searching for the meaning of life in a time and place where things- thanks to modernization- are changing so…
From the stunning opening sequence with the familiar wail of 'Rhapsody in Blue', Woody Allen guides us round the nooks and crannies of his home city. His fractured voiceover introduces the city as one of the main characters; as complex, loveable and frustrating as the movie's human populous.
He introduces other cities this way in his later, 'European tour' movies, but he only ever gives us a tourist's picture postcard of the likes of London, Barcelona and Paris. Here, it is intensely personal. He is one tiny cell of New York's lifeblood, and New York flows similarly in his veins.
Take the famous shot from the poster: as self-absorbed, neurotic, inconsistent and maddeningly burdened with First-World problems Isaac, Mary and…
“Chapter One. He was as tough and romantic as the city he loved. Behind his black-rimmed glasses was the coiled sexual power of a jungle cat—oh, I love this. New York was his town, and it always would be.”
Is life fundamentally sweet or sour? Depends on your point of view, I suppose. You get a new job, make a new friend, fall in love—life is honeyed and worth living. You lose that job, have a falling out with that friend, fall out of love—life is curdled and should be thrown out. The funny thing is, those circumstances don’t parcel themselves out discretely. They tend to coexist. You get a promotion but have a fight with your spouse about the…
A funny and authentic look at relationships from Woody Allen that takes place in a stunningly shot Manhattan. Seriously, the black-and-white cinematography is jaw dropping. It also has an amazing soundtrack and great performances. It's odd that Allen dislikes this so much.
I can't express anger. That's one of the problems I have. I grow a tumor instead.
Here Woody Allen goes past making a romantic/comedy and goes right into creating a new genre that should be called the neurotic/romance. While it's very comparable to Annie Hall to some degree the two films are very different beasts. While Annie Hall is about looking back on a failed relationship, Manhattan is an honest look at people sabotaging their own love life.
The film is populated by characters that should be unlikable. Their self-obsessed, materialistic and indulge their egos in thinking they are the personification of what New York intellectuals strive to be. Allen of course is able to shoehorn his tried…
New York looks pretty stunning in black-in-white, doesn't it? I think this is probably my favorite Woody Allen film starring Woody Allen as Woody Allen so far. Manhattan manages to create believable relationships between neurotic people and Allen presents himself as a lovable ass hole you can't help but root for. Sure, no one is conventionally likable, but everyone is real. Instead of a linear story you're pretty much just presented with a series of failed relationships and complicated love triangles, but by the end you really do want the best for everyone involved. This is high up on my invisible Woody Allen ranking so far, and it's one of the few I'd actually like to see again someday.
I've officially seen this film too many times. It will be at least a decade (god willing) before I return to it.
I had forgotten what perfect pitch Woody Allen brought to ''Manhattan"-- how its tone and timing slip so gracefully between comedy and romance. I hadn't seen it in years, and remembered mostly the broad outlines, the one-liners, the romance between a middle-aged man and a high school girl. Seeing it again I realize it's more subtle, more complex, and not about love, but loss. There are a lot of songs on the soundtrack, but the one that speaks for the hero says ''they're playing songs of love, but not for me.''
The movie's May-November romance was criticized because Isaac (Woody Allen) and Tracy (Mariel Hemingway) seem to have so little in common. But she at least has what lovers need,…
Manhattan is a symphony.
Sit yourself down, the one-man show is in his golden hour and there is extraordinary talent all around. Be it Diane Keaton's comedic rebutting and immense wit or Micheal Murphy's grounding humanity. Also the beautiful and perhaps too young vision of Mariel Hemingway as Tracy.
The legendary cinematographer Gordon Willis ascends to such great heights that every frame and track seems perfection. Take the image on the thumbnail you may have just clicked on, it's burned onto you forever, it's the iconography that every one seems to recognise in a way, like The Beatles or Monet's Sunflowers.
Or even the mastery of the starring director Woody Allen himself, could he soar these heights again? Perhaps not. But his string of masterpieces in the late seventies are a gift, thick rimmed glasses and all.
Nervous 40something guy dating an underage girl gives New York a cinematic blowjob. Does nervous guy things in the process.
A film that is both deep and meaningful and hilarious at the same time. The writing is superb and Willis' cinematography is simply breathtaking. Woody is a very underrated director, all people seem to notice is his writing and his persona. But some of the shots and camerawork here is terrific, very much reminded me of Godard's Contempt. Masterpiece.
Re-watching MANHATTAN in NYC, incredible. Gets better each time I see this film.
Multiple failed marriages, dating someone inappropriately young, a lesbian ex-wife... it's just the life of Ross Geller with classier jokes and better cinematography!
So, I finally got around to seeing this, and I like it very much. The film basically tells us that no one really understands what love is. Simple enough. You over-think it and so forth and then the thing you were least expecting to happen happens. Unpredictable, it is. I was watching Woody Allen's Husbands and Wives just yesterday and I just couldn't help comparing Manhattan to that film in particular. He certainly did a better job with this film. This is Woody Allen doing what he does best. Also, It's beautifully shot in black-and-white and it's all accompanied by the gorgeous music of George Gershwin. It's a comedy-drama that's also technically outstanding which is something you don't come across very often. If you haven't seen it, don't make the mistake of waiting as long as I did to see it. Just go for it.
This is my first exposure into Woody Allen territory. I'd always heard good things about the director and his films. Perhaps this was not the best movie to start off with from his filmography, but it really irritated me. Other than the above-average cinematography, I hated watching this film.
Manhattan is a pretentious self-indulgent ego-trip. The narrative centers around a writer (who looks like a vulture with thick-rimmed glasses) dating a beautiful seventeen year old girl (...what?) while also slowly falling in love with his best friend's mistress (...seriously, what?), a woman who has simultaneous feelings for both men while also hesitant to end the former's marriage (WHAT.)
Though it is far more recent and probably highly influenced by this…
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most recent update - Thursday, April 10, 2014, 11:23 PM EST
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