Manhattan

Manhattan is an exhilarating American romance set against the backdrop of New York of the late 70's: my favorite New York, the New York of painters, poets, punks, and Pauline Kael. Three great, very American talents -- Woody Allen, Gordon Willis, and George Gershwin -- intertwine their respective gifts to create a comedy that manages to satisfy both the brain and the heart, and even, perhaps, the lower regions.

Allen is so brainy and such a nebbish that he can get away with gestures that would be painfully sentimental in the hands of any other director: when he begins the movie with fireworks cut to Gershwin, it isn't to soften you up for a soap opera, but to remind you that however much his neuroses may seem to drive the scenes, its the love of New York that drives the movie.

The entire cast is note perfect: Meryl Streep as his caustic bisexual ex-wife, Diane Keaton as a nervous journalist from Philadelphia, and especially Mariel Hemingway, whose performance as Allen's 17-year old girlfriend is charming, heartbreaking, and wise.

Allen's comedy here is at its absolute finest. The fact that it is interwoven with a genuinely moving love story told with a subtlety and indirection that is unheard of in today's mainstream cinema only makes the laughs that much richer.

Gordon Willis' cinematography is good enough for the Museum of Modern Art. Scene after scene leaves a grin on your face as his moving (in both senses) black and white photography floats across the screen.

And finally underlying everything is the music of George Gershwin, whose exubertant melodies propel the movie forward at every turn.

This is Woody Allen's best movie, a great movie, and an American movie in the best sense. As an homage to the city of New York it will surely remain unsurpassed.

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

Woody Allen started off making outrageous, cheap, hit-and-miss, unpretentious comedies, the best of which were probably "Love and Death" and "Sleeper." The comedy became more rooted in reality and grafted onto an engaging story of lost love in "Annie Hall," which I think is still his best film. After that, "Interiors." Ka-Boom. Since then there have been no more absurd comedies, several gloomy dramas, and many more or less successful attempts to blend comedy with serious themes.

This is one of the dark comedies and didn't work for me. Allen is going with a high-school girl, falls for a woman nearer his own age, alienates his close friend, and finally decides -- too late -- that the younger girl is his soul mate. It ends ambiguously with her leaving for Europe. The plot is out of a soap opera. It does have some witty lines (almost all of them given to Allen himself) and a lot of inside New Yorker intellectual allusions, but, aside from the Gershwin score, isn't worth seeing twice. Really, it's pretty boring. The performances aren't bad, but Allen doesn't challenge himself either. It's his old neurotic, stuttering, put-upon persona that is by now more than familiar enough. There's just nothing new.

It isn't that Allen had run out of ideas by 1979 because he's made some successful films since then -- "Hollywood Ending" and "Broadway Danny Rose", for instance. But "Manhattan" is one of the many that simply got by me. It didn't seem charming. It seemed repetitious and pointless. I didn't bother counting the times someone meets another and says, "Hiii," using the contours of the fourth tone in Mandarin Chinese. And no one seems to say it just once during a given encounter, but several times. "Hii, hii -- how AHH you?"

I kept waiting for one of two things to happen. Either IT takes off or I get drawn in. But neither contingency was realized. I cared about the entanglements in "Annie Hall," but here it didn't matter to me who wound up with whom, and I never got the feeling that it mattered much to Allen either.

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.

Manhattan is a stunningly shot film. Beautiful scenes of the city permeate throughout and the music of George Gershwin punctuate the visuals nicely. You can really sense Allen's love for NYC and I admit, though not a New Yorker, I fell for the city too.

As for the plot, ok it's a film that couldn't be shot today as it deals with a 42 year old, twice divorced man, a father no less, who is dating a 17 year old high schooler. Getting past that, this is a story of a group of neurotic, self absorbed people who project so much authority and opinion about the lives and endeavors of others, but yet are unable to project much of anything other than dysfunction in their own lives.

There is a particularly painful scene when Issac, played by Allen, is breaking things off with Tracy, played by Mariel Hemingway. You really feel for the girl, she is young, inexperienced, has fallen in love with the older man and is now experiencing rejection and heartbreak for the first time. There is also a lot of humor in the film. What I especially enjoyed is the humor didn't sink to vulgarity or cheap talk about bodily functions or anatomy jokes. The subject was handled with maturity and wasn't insulting. Towards the end of the film Issac attempts to persuade Tracy not to go to London to study, but Tracy is a precocious young lady telling Issac that he must have faith in people insinuating she'll return to him. Just an overall good film about the complications of adult life told in a humorous yet mature manner. Enjoy.