Manhattan

Manhattan Review

Manhattan Overview

Nominated for two Academy AwardsÂ(r)* in 1979 and considered "one of Allen's most enduring accomplishments" (Boxoffice), Manhattan is a wry, touching and finely rendered portrait of modern relationships against the backdrop of urban alienation. Sumptuously photographed in black and white (Allen's first film in that format) and accompanied by a magnificent Gershwin score, Woody Allen's aesthetic triumph is a "prismatic portrait of a time and a place that may be studied decades hence" (Time). 42-year-old Manhattan native Isaac Davis (Allen) has a job he hates, a seventeen-year-old girlfriend, Tracy (Mariel Hemingway), he doesn't love and a lesbian ex-wife, Jill (Meryl Streep), who's writing a tell-all book about their marriage and whom he'd like to strangle. But when he meets his best friend's sexy intellectual mistress, Mary (Diane Keaton), Isaac falls head over heels in lust! Leaving Tracy, bedding Mary and quitting his job are just the beginning of Isaac's quest for romance and fulfillment in a city where sex is as intimate as a handshakeandthe gateway to true love is a revolving door. *Supporting Actress (Hemingway); Original Screenplay

Manhattan Specifications

Manhattan, Woody Allen's follow-up to Oscar-winning Annie Hall, is a film of many distinctions: its glorious all-Gershwin score, its breathtakingly elegant black-and-white, widescreen cinematography by Gordon Willis (best-known for shooting the Godfather movies); its deeply shaded performances; its witty screenplay that marked a new level in Allen's artistic maturity; and its catalog of Things that Make Life Worth Living. But Manhattan is also distinguished in the realm of home video as the first motion picture to be released only in a widescreen version. You wouldn't want to see it any other way. Allen's "Rhapsody in Gray" concerns, as his own character puts it, "people in Manhattan who are constantly creating these real, unnecessary, neurotic problems for themselves, because it keeps them from dealing with more unsolvable, terrifying problems about the universe." It's a romantic comedy about infidelity and betrayal, the rules of love and friendship, young girls (a radiant and sweet Mariel Hemingway) and older men (Allen), innocence, and sophistication. (a favorite phrase is used to describe a piece of sculpture at the Guggenheim: "It has a marvelous kind of negative capability.") The movie's themes can be summed up in two key lines: "I can't believe you met somebody you like better than me," and "It's very important to have some kind of personal integrity." OK, so they may not sound like such sparkling snatches of brilliant dialogue, but Manhattan puts those ideas across with such emotion that you feel an ache in your heart. --Jim Emerson

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