Every film from Roger Ebert's "Great Movies" essays.
Woody Allen's New Comedy Hit
The life of a divorced television writer dating a teenage girl is further complicated when he falls in love with his best friend's mistress.
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…
Manhattan is the type of comedy I like: simple, romantic, charming and fresh, never falling into unreasonable clichés while telling its story. Everything seems to work in this film, from the delicious dialogues which make cultural references without exaggerating to its lovely direction. Beautifully shot in black and white, Manhattan is Woody Allen's love letter to New York, his beloved city, which he thought that was the perfect background for this story, and, god, he was right. The film is about a divorced television writer, who has ambitions to become a novel writer. He's a neurotic underachieving intellectual who's always changing his mind about love and who does not know what to do with his life. As always, Woody Allen…
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…
Woody Allen turns in another mostly romantic comedy with "Manhattan." A film about a man swinging between two relationships, "Manhattan" is full of wit and enough bite and subtle authenticism to make it stand out where other Allen comedies come off as artificial.
Like 1977's "Annie Hall," 1979's "Manhattan" is less about plot and more about characters and their idiosyncracies. Allen casts himself in the lead as a neurotic nebbish who can not decide between a 17-year-old girl and his best friend's mistress. Allen's protagonist bears an arrested arc, leaving love's lessons unlearned and changes unmade. The rest of the cast is filled out by a refreshingly real Diane Keaton as Allen's adult paramour, Muriel Hemingway as Allen's teen crush,…
“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…
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…
The excellent direction and cinematography in this film overcome my difficulty with Woody Allen's onscreen persona.
Still the most beautiful film about a paedophile ever.
Thumbs Up: Gordon Willis' incredible black-and-white cinematography, George Gershwin score, diverse Manhattan backdrop is perfectly weaved into the film the way only a true New Yorker would know how, Woody Allen's scathing swipe at NY pseudo-intellectuals, the classic neurotic introduction, the Hayden Planetarium scene.
Thumbs Down: For me it lacks the energy or clarity of my favourite Woody Allen films, the underage romance plots creeps me out (especially considering you never really see why their connection is so special), Isaac is one of the more unsympathetic Allen creations (for some reason it really shat me off that he doesn't mention his son when listing off his "reasons to live").
Mary Wilke: "Facts?I got a million facts at my fingertips."
Isaac Davis: "That's right, and they don't mean a thing, right? Because nothing worth knowing can be understood with the mind. Everything really valuable has to enter you through a different opening, if you'll forgive the disgusting imagery."
Reasons to why i saw it again? Well it's Manhattan. One of my absolute favorite pictures and well it's that time of the year where i have to re-watch it.
Manhattan is Directed by Woody Allen and it stars Woody Allen, Diane Keaton, Michael Murphy, Mariel Hemingway, Meryl Streep, Anne Byrne, Hoffman Karen, Ludwig Michael O'Donoghue and Wallace Shawn.
"In Manhattan, Isac Davis is a divorced writer of TV shows unhappy with…
Gorgeous. Intellectual. Witty.
Hopelessly romantic, and often very witty. What stands out for me is Allen's performance—his timing is amazing, particularly in the very last scene.
In some respects a continuation of themes carried over from Annie Hall, and played out in a similar tone, Manhattan is, nevertheless, Allen's masterpiece. A little broader in scope and generously affording time to a wider ensemble including Michael Murphy, Meryl Streep and the lovely Mariel Hemingway, in addition to the returning Diane Keaton, the film feels featherlight but weaves an unmistakable melancholic thread throughout, the impact of which only really crystalising in that famously tender last scene that leaves the viewer aching. New York is, of course, a perennial character in so many of Allen's films but no more so than here, with Gordon Willis' stunning black and white photography capturing the city in the most romantic way imaginable.…
Even though his personal life is a little disturbing and the fact that his character was involved with a 17 year old, I love Woddy Allen's films.
Manhattan was no exception! A black and white love story between a man and a woman and a man and his city. Even in today's world where creative and innovative movies come out every year, this one still remains to be a classic that deserves a certain amount of respect. Loved it.
Woody Allen is a brilliant writer, a great director, a funny person but unfortunately not a great actor. His roles are all one big mesh of the same person. He's got great comic timing and he's a funny person in general and I obviously do laugh at him but there is absolutely no distinction between his characters whatsoever and I know the fact that his films are so personal is part of the charm and all that but he can at least try to show a little definition.
Its also interesting to me how his protagonist here and also in many of his other flicks are so strongly opposed to the pseudo-intellectual, name-dropping types of people when these same people…
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