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Manhattan

  • 1979
  • T
  • 1h 36min
VALUTAZIONE IMDb
7,8/10
151.615
LA TUA VALUTAZIONE
Manhattan (1979)
Trailer for Woody Allen's "Manhattan"
Riproduci trailer3: 15
1 video
99+ foto
Feel-Good RomanceRomantic ComedyComedyDramaRomance

La vita di uno sceneggiatore televisivo divorziato che esce con una ragazzina si complica ulteriormente quando lui si innamora dell'amante del suo migliore amico.La vita di uno sceneggiatore televisivo divorziato che esce con una ragazzina si complica ulteriormente quando lui si innamora dell'amante del suo migliore amico.La vita di uno sceneggiatore televisivo divorziato che esce con una ragazzina si complica ulteriormente quando lui si innamora dell'amante del suo migliore amico.

  • Regia
    • Woody Allen
  • Sceneggiatura
    • Woody Allen
    • Marshall Brickman
  • Star
    • Woody Allen
    • Diane Keaton
    • Mariel Hemingway
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,8/10
    151.615
    LA TUA VALUTAZIONE
    • Regia
      • Woody Allen
    • Sceneggiatura
      • Woody Allen
      • Marshall Brickman
    • Star
      • Woody Allen
      • Diane Keaton
      • Mariel Hemingway
    • 317Recensioni degli utenti
    • 135Recensioni della critica
    • 83Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
    • Candidato a 2 Oscar
      • 16 vittorie e 24 candidature totali

    Video1

    Manhattan
    Trailer 3:15
    Manhattan

    Foto112

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    Interpreti principali35

    Modifica
    Woody Allen
    Woody Allen
    • Isaac
    Diane Keaton
    Diane Keaton
    • Mary
    Mariel Hemingway
    Mariel Hemingway
    • Tracy
    Michael Murphy
    Michael Murphy
    • Yale
    Meryl Streep
    Meryl Streep
    • Jill
    Anne Byrne Hoffman
    Anne Byrne Hoffman
    • Emily
    • (as Anne Byrne)
    Karen Ludwig
    Karen Ludwig
    • Connie
    Michael O'Donoghue
    Michael O'Donoghue
    • Dennis
    Victor Truro
    • Party Guest
    Tisa Farrow
    Tisa Farrow
    • Party Guest
    Helen Hanft
    Helen Hanft
    • Party Guest
    Bella Abzug
    Bella Abzug
    • Guest of Honor
    Gary Weis
    • Television Director
    Kenny Vance
    • Television Producer
    Charles Levin
    Charles Levin
    • Television Actor #1
    Karen Allen
    Karen Allen
    • Television Actor #2
    David Rasche
    David Rasche
    • Television Actor #3
    Damion Scheller
    • Isaac's Son
    • Regia
      • Woody Allen
    • Sceneggiatura
      • Woody Allen
      • Marshall Brickman
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti317

    7,8151.6K
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    Recensioni in evidenza

    jz1360

    A maddening tribute to an egomaniac

    I used to hold this film as somewhat of a sacred cow when I first saw it in 1979. I was a proscribed Woody fan and

    although I still like a few of his movies, this is no longer one of them, on recent review.

    I recently purchased copies of Manhattan and Annie Hall.

    I watched the latter first and it charmed my socks off again. One classic scene after another signals the height of Allen's art in this hilarious masterwork. Manhattan is a different story.

    Perhaps my recent viewing of Wild Man Blues has hipped

    me to what an whining, pampered egomaniac Mr. Allen is.

    Perhaps it's the irony of his Chaplin-like dalliances with young women that have set me against him. But I now watch Manhattan

    and see a pathetic, overblown Allen literally feeding lines to his

    fellow actors to give him some smarmy comeback that never fails to show how intellectually superior he is. Different from Annie Hall, Allen is no longer the underdog but an ugly, obnoxious

    over-lord...

    His characters in Manhattan, are cardboard. They are not real and

    the situations are not real. I have no feeling for anyone in this

    movie, except Woody, who I feel contempt for, given his massive

    and unfunny self-indulgence. It's pathetic to see Allen set up

    Hemingway with lines that a teenager would never say in a million

    years, just to trump up his flaccid ego. Everyone in this movie actually feeds him lines to trump up his ego.

    Like Stardust Memories, this one shows Woody at his self- indulgent worst. This movie looks wonderful and sounds wonderful with the Gershwin score, but on further review, this

    one's hollow and ultimately a maddening tribute to an egomaniac.
    9j30bell

    Magical film about the city and those looking for love

    Woody Allen once said that, whereas Scorsese had generated a host of imitators, he had generated none. This may be true; films like Manhattan certainly come along far too infrequently.

    That this is such a gorgeous film may strike those following the formulaic, Hollywood approach to cinema as strange and heretical. The story is unexciting (restless male in love triangle), most of the characters are unsympathetic, at least on the surface (particularly Isaac), Allen leaves lose ends lying around all over the place, and there's certainly no action (unless you count the car-chase-without-a-chase-scene involving Diane Keaton, Woody Allen and a VW Beetle).

    So why should any self-respecting member of the MTV generation spend time on this film? Well, here are a few reasons.

    The script is wit of the highest order. This is not gag-a-minute humour like Friends, but an altogether more acute art form stemming from character, some wonderful dialogue and a fair amount of darkness (I love the bit about Isaac trying to run over his ex-wife's lover). Allen is also prepared to turn his biting satire to personal issues, such as being Jewish. Just don't expect someone to look shrug their shoulders, slap their forehead and with mid-rising intonation say d'uh! It's not that kind of comedy.

    Then there is the gorgeous cinematography. Woody loves Manhattan and you can certainly tell. If there is one criticism of the film, it is that it leaves a rather picture postcard impression of the city, but I suppose if it's love, then it's love. Much of the film appears to have been shot at either sunrise or sunset to soften the light, and there are spectacular views of the towers, bridges and waterways of America's finest metropolis.

    Then, I suppose, there is the fact that Manhattan is probably the archetypal Woody Allen film. Other films may be better, like Annie Hall or Hannah and Her Sisters but, in Manhattan, all the elements of Allen's style are in perfect balance. There's the jazz, the neurotic, unsympathetic lead, the choice between stable and highly-strung women, the self-mocking humour (hilariously done in the opening voice-over), the railing against intellectual snobbery, the deep unease with popular culture.

    And there are great performances. Allen is at his most difficult – and in some ways his least likable. As Isaac, he's trying to do the right thing, but is rarely selfless enough to follow through with it. Diane Keaton is great as Mary, the lynchpin between the two love triangles – vain, pretentious and yet you can see why Isaac falls for her. Well, all the actors are great, and very believable, but special mention must go to Meryl Streep, who manages to steal the show with her tiny cameo as Isaac's ex-wife, writing a book about their break-up and living with their son and her lover. She is magnificent.

    Of course, the film will also do nothing to dispel the popular rumour that New Yorkers are neurotic, self-obsessed and self-indulgent – at least that narrow social circle Allen so often writes about. If you don't mind that, though (and I'm English, so what do I care) you're in for a treat. As with the city itself, the memories of this film will stay with you forever.
    8ackstasis

    "Chapter One. He was as tough and romantic as the city he loved. Beneath his black-rimmed glasses was the coiled sexual power of a jungle cat."

    After the phenomenal success of 'Annie Hall,' the hilarious Oscar-winning comedy detailing the romantic exploits of neurotic Jewish comedian Alvey Singer, Woody Allen had become of America's most respected filmmakers. In 1979, he released what is generally accepted as his second great masterpiece, 'Manhattan,' a poignant tribute to the city that Allen loves so dearly. Written by Allen and his 'Annie Hall'-collaborator Marshall Brickman, 'Manhattan' stars Allen as Isaac Davis, a twice-divorced, 42-year-old comedy writer who is intimately involved with a 17-year-old high school student, Tracy (an Oscar-nominated Mariel Hemingway). Meanwhile, Isaac begins to fall for Mary (Diane Keaton), who is the secret mistress of his best friend (Michael Murphy). Adding to all of Isaac's troubles, his former second wife, Jill (Meryl Streep), who had originally left him for another woman, has plans to write a tell-all book on their failed marriage.

    If this all seems very confusing to you, then you're not alone. Just as in 'Annie Hall,' Allen plays the hopeless romantic who is struggling desperately to understand the maddening complexity of human relationships. Though Tracy is only seventeen years old, she is arguably the most honest and mature of the women in Isaac's life; nonetheless, he doesn't treat her seriously. In his mind, anything that she says is quite obviously influenced by the naivety and downright ignorance of the young. Their relationship was never meant to be anything more than a brief "fling," and so he feels no guilt for seeing another woman behind his back, an act that makes him livid when it ultimately happens to him.

    'Manhattan' was shot in beautiful crisp black-and-white by Gordon Willis, who has also worked on, among countless other films, 'Annie Hall' and the three installments of 'The Godfather.' The cinematography offers New York City a romantic 1940s feel, reminiscent of how Allen claims to remember the city as a child: "Maybe it's a reminiscence from old photographs, films, books and all that. But that's how I remember New York. I always heard Gershwin music with it, too. In 'Manhattan' I really think that we — that's me and cinematographer Gordon Willis — succeeded in showing the city. When you see it there on that big screen it's really decadent."

    Mysteriously, this film remains the least-liked by the director himself, though, at the same time, it was also his most commercially successful. As you've no doubt already noticed from this review, 'Manhattan' is often likened to 1977's 'Annie Hall,' perhaps due to the repeated casting of Allen and Keaton (a not uncommon occurrence) or its similar attempt to uncover the elusive secrets behind love and relationships. In terms of film-making style, however, the films are quite dissimilar. Unlike the highly-energetic 'Annie Hall' – which cut back and forward in time, visited old memories, broke the fourth wall and made conversations with passing extras – 'Manhattan' boasts a more classical approach – quiet, softly-spoken and accompanied by a wistfully slow jazzy soundtrack, also relying heavily on the works of George Gershwin.
    kyto

    Nice cinematography but annoying characters

    I watched Manhattan recently because i had never seen Woody Allen's films and heard this was one of his best.

    I can see why people love this film, it certainly is quite original and a convincing snapshot of a group of friends in New York, but I found Woody's character just too excruciating self-possessed and irritating to enjoy the film overall.

    I guess you either love him or hate him, but he reminded me of George Costanza on Seinfeld - i just wanted to shake him and say 'get over yourself!'.

    As for the humor, there were a lot of attempted wit there but nothing that made me laugh out loud. I won't be a hurry to see any of his other films.
    9evanston_dad

    Neurotic in NYC

    Woody Allen has been churning out mediocre films for so long now that it's easy to forget how good some of his older films were. "Manhattan" is the product of Allen's "mature" 1970s phase, the phase that also produced "Annie Hall" and "Interiors," and it's a wonderful film. It's not the plot that makes it singular -- it's typical upper-crust New York Allen, full of neurotic people in therapy cheating on one another and making mistake after mistake in their pursuit of what they think will make them happy. No, what makes "Manhattan" so effective is its style. Filmed in black and white (because, as Allen's character says in an opening voice over, New York is a city that has always and will always exist in black and white), the film is a love letter to NYC, and it suggests that the neuroses that fill its denizens are as much a part of the city's character as its architecture, culture and diversity. I would instantly be annoyed by the people that populate Allen's films if I met them in any other context. As it is, I can't imagine any Allen film (at least not one set in New York) without them.

    Grade: A

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      Meryl Streep shot her scenes during breaks in filming Kramer contro Kramer (1979).
    • Blooper
      In the first scene at Elaine's, as Isaac is beginning to say something, two people (presumably customers of the restaurant, as it was running while they were shooting) walk in front of the camera. Isaac laughs, and quickly recovers with an impromptu remark about how his girlfriend has to go and do homework.
    • Citazioni

      Isaac Davis: All the times I come over here, I can't understand how you can prefer her to me.

      Jill: You can't understand that?

      Isaac Davis: No. It's a mystery to me.

      Jill: Well, you knew my history when you married me.

      Isaac Davis: I know. My analyst warned me, but you were so beautiful that I got another analyst.

    • Curiosità sui crediti
      One of the very few Woody Allen films to not have traditional opening credits, save the production company bumper (United Artists), and the film title MANHATTAN is seen as a long vertical flashing bright neon sign, located on the side of a New York City building, and is seen for under seven seconds just before Woody Allen narrates his first line.
    • Connessioni
      Edited into Intimate Portrait: Diane Keaton (2001)
    • Colonne sonore
      Rhapsody in Blue
      (1924)

      Music by George Gershwin

      Performed by The New York Philharmonic

      Conducted by Zubin Mehta

      Piano soloist: Paul Jacobs

      Music director: Zubin Mehta

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    Dettagli

    Modifica
    • Data di uscita
      • 31 ottobre 1979 (Italia)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • Chuyện Tình Manhattan
    • Luoghi delle riprese
      • Solomon R. Guggenheim Museum - 1071 Fifth Avenue, Manhattan, New York, New York, Stati Uniti
    • Azienda produttrice
      • Jack Rollins & Charles H. Joffe Productions
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Budget
      • 9.000.000 USD (previsto)
    • Lordo Stati Uniti e Canada
      • 39.946.780 USD
    • Fine settimana di apertura Stati Uniti e Canada
      • 485.734 USD
      • 29 apr 1979
    • Lordo in tutto il mondo
      • 40.194.067 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      1 ora 36 minuti
    • Colore
      • Black and White
    • Mix di suoni
      • Mono
    • Proporzioni
      • 2.39 : 1

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