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,…
Apparently this is my Woody Allen year as I watched another one of his films, this time the much-acclaimed Manhattan .
At this point Allen movies are almost my go-to films whenever I don't really know what to watch or can't muster up the energy to watch a long picture. This is not because I consider them to be disposable entertainment, mind. More often than not they're just so damn enjoyable with good, funny dialogue, beautifully composed shots and music, as well as often amazing performances that I can't help to pop on in. Sure, some of his efforts tend to be rather inessential with no real plot to speak of, but then again who watches a Woody Allen film…
“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…
Birthday re-watch of this comforting old favourite.
There is simply no excuse for me calling Woody Allen's Manhattan "overrated" in the past, although if I had to come up with one, I suppose I would blame it on my young age when I first saw the film. (I even remember watching Annie Hall at about ten years old, with all the humor and jokes flying right over my head.)
Anyways, what else is there to be said about Manhattan that has not already been said? It is probably Allen's most beautiful film, wonderfully photographed in 2.40:1 cinemascope by the late and great Gordon Willis. The cinematography, combined with Gershwin's "Rhapsody in Blue," as well as Allen's focusing on the little images of characters and the landscape, all…
"I had a mad impulse to throw you down on the lunar surface and commit interstellar perversion."- Isaac Davis
Woody Allen's Manhattan is yet another solid film from him. It features a sharp script full of witty lines and also tells a very interesting story. The Black and White photography is stunning and the performances are great. Woody Allen himself is hilarious as always and everyone else turns in a great performance. I really enjoyed all of the relationships portrayed in the film and all of the connections and complications that came with them. The ending was great. 8/10
This review reportedly contains spoilers. I can handle the truth.
Woody Allen has gone on record to say that he was convinced Manhattan would be a commercial and critical failure — he went so far as to propose a deal to his studio, offering to direct his next project for free if they would shelve the film. The studio, thankfully, took a pass and released the smart and shrewdly observed glimpse into the tangled lives of neurotic sophisticates who dwell in the strange and storied realm that is the Upper East Side. Time has been exceptionally kind to the film, though it’s still almost inconceivable to think how accepting audiences were of its central relationship: twice-divorced 42-year-old Isaac Davis (Allen) dating 17-year-old Tracy (Mariel Hemingway). Of course, there’s another great…
Sometimes a film leaves me speechless. It happens all the time but usually I'm almost already ready to start analyzing it and making interpretations. I actually I go by the feeling. When I watch a film, I rather experience it and feel it and after it is all over, I start really using my brains. With Manhattan the latter isn't an option. Perhaps it's because of my tired state or something but when I wake up tomorrow. I'm sure that this film will be on my mind. So strong was its mood. I feel like I kind of missed it but its true effect will probably hit on me as time passes. Woody is magical filmmaker to whom word "ordinary"…
Woody Allen's most visually beautiful film. That's the thing that stands out most to me. Not to say that there aren't plenty of other great things here, but above all else, it is beautiful to look at. The choice to film in black and white served the picture fantastically, making every frame stand out more so than in any other picture the director has made.
Of course, it being a Woody Allen film, the writing and characters are also quite enjoyable, however not much more so than any other Woody pic (his characters are generally pretty interchangable from movie to movie).
The only thing holding me back from being completely bawled over on this film is the main characters questionable…
-How good is Manhattan?
-It is " Woody Allen so good".
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