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.
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…
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.
"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."
Funny voiceover. Black and white. New York City. George Gershwin. Rhapsody in Blue. One of my favorite openings. One of Woody Allen's best films.
Woody Allen and I still have a fractured relationship. I try and try and I thought I was starting to warm to the little New Yorker. Alas another luke-warm response to another apparent classic and I'm now wondering whether I'll ever see eye to eye with Mr Neurotic.
Can it really be possible to dislike every character in a film. None of this lot deserve any sympathy for the way they rail-road over each others feelings. Partner swapping,lies,deceit and another of Woody's neurotic,self-obsessed arsehole roles that he seems to relish,this has all Allen's hallmarks. And that's almost certainly the problem for me. Maybe it's because I'm not a New Yorker or even American,who knows,he just doesn't connect with me.
Now the questions begin: which is better, this or ANNIE HALL? I'm driving myself into a Woody Allen style neurosis contemplating it. On one hand, ANNIE HALL completely changed the landscape of American movies and really broke a lot of rules in such pitch perfect ways that even the most devoted formalists can't deny. MANHATTAN is much more classical and romantic but with that bite of New York reality and a true sense of the types of people in it that makes Allen's movies so definitive in understanding New York.
MANHATTAN is one of the most amazingly consistent films I've seen, especially from a cinematography standpoint. Its sense of composition and the dramatic flair of the black & white film sometimes…
Tasteful, beautifully photographed, and thoroughly enjoyable modern love (or really, the absence of love) story.
From the opening bars of Gershwin’s Rhapsody in Blue to Woody Allen running through the streets of New York in a desperate attempt to catch Tracy before she leaves for London, Manhattan is as iconic as the New York Skyline. It’s beautiful, it’s artistic, it’s heartfelt and… it’s funny.
Allen had just taken a step towards more artistic and dramatic filmmaking with his two prior films Interiors and Annie Hall; along with Manhattan they would set the tone for Allen’s work over the next ten to fifteen years. Yet in Manhattan we see the artistic progressions that Allen had made already made in the two years since Annie Hall.
It is no secret that Allen is a huge fan of…
How is a pretty 17 year old into Woody Allen or anyone remotely similar to him, and why is it not weird to his friends? And why are there more than 1 woman "hung up" on him? Beyond these questions, it's a quirky and funny movie that I really enjoyed watching every minute of.
Also, I never noticed how similar Owen Wilson's delivery and speech is to Woody Allen's until this movie. They sound so alike.
Woody Allen in Bestform, zusammen mit Midnight in Paris mein bisheriger lieblings Film von ihm.
Stilistisch komplett in S/W mit teilweise toll gefilmten Aufnahmen und einem Woody in Bestform.
So charming - impossible not to fall in love with this film. As a New Yorker, I really appreciate all the stunning shots of Manhattan. It makes me adore the city more. And of course, Diane and Woody are perfection as always.
I haven't enjoyed a movie as much as I did with this one in a long time.
great opening shots, classy black and white film.
long takes, walk and talk steadicam, wide frames, great close ups, natural lighting, silhouettes in the night
beautiful planetarium scene
Finally saw this.
My 550th Letterbox review!!!!!
One of Woody's masterpieces!
Woody's Direction in this film is superb. He allows the settings and the performances move the story along. There are a few instances where his shots are creative and have a nice flow to them but mainly his use of blocking and how he fills the frame from scene to scene is what pulls you into the film.
His first use of Black and White and you can see right away how in tune he was with this style. His collaboration with Gordon Willis here is legendary. Every single shot is close to a work of art. Manhattan always looks good on screen but I would argue that this could be the…
What a pretty movie. No matter how many times I see New York in movies, I'm always impressed with what filmmakers are able to do to make it look amazing. Actually, I think this might be my favorite portrayal. Some of those shots, man, seriously beautiful stuff.
But what about that story, huh? It's definitely interesting, but... Well, first of all, sometimes I think the characters are a little too smart for their own good. There's a lot of "intellectual" banter in this movie, which I think was supposed to be ironic, but there's so much of it that it gets dangerously close to looping around and losing that irony. Maybe Woody got a little carried away here, I dunno.…