From the very beginning of George Gershwin's dazzling "Rhapsody in Blue" at the start of Woody Allen's 1979 film Manhattan, you can feel the genuine nature of the passion of this film, and the artistry to boot. It will suffice to say, it's undoubtedly one of Woody Allen's masterpieces.
Allen plays a twice-divorced New Yorker, Isaac, on the brink of a mid-life crisis: he is struggling with his career and is dating a 17 year old girl (Mariel Hemingway). His best friend (Michael Murphy) is having an affair with culturally savvy Mary (Diane Keaton), the clash of classes so obviously seen. Despite the differences, Isaac falls for Mary and Mary falls for Isaac, quite the relational web for these characters, but so much more deep than one would imagine.
Manhattan evokes some sort of lost romanticism, the most effective use of idealized post- modern charm. It's both relaxing and utterly thrilling, with Allen's usual notions of his passion and love for New York, shown brilliantly in Gordon Willis' black and white cinematography, which manages to highlight the beauty of New York, wrapped up in the gritty industrialism. Every nuance of the film has New York written all over it. From the iconic places and iconic music, it creates some iconic visuals. It is Allen's adoration of the city and for cinema itself that make it an intimate spectacle on the backdrop of the epic concrete jungle.
The relationships and characters are as lively and complex as the gorgeous city around them. The way Manhattan never gives easy answers for it's characters is one of the strengths of this film, and certainly one of the biggest weaknesses of the modern romantic comedy. He writes these characters as real human beings, with depth beyond adolescent themes and more into his common exploration of psychology and sexual desire, among other things. He really knows how to bring out the best in his cast. There is not a single performance that could be considered less than authentically magnificent, and Allen's top-notch writing certainly helps. Diane Keaton gives another effortless performance, and she fits this film so perfectly: independent, confused, but ultimately bearing psychological American complexities that drive her character to choose what she chooses in the end. Mariel Hemingway is the most subtle, perhaps because of the ingenuity of her character, but always acting so true to form, as if she is living the life of her character and her transitions from bright-eyed-young-girl to bright- eyed-young-woman are done brilliantly. Of course Woody Allen is especially earnest, and throw in Meryl Streep and you've got one of the best casts ever assembled.
It's such a romantic and charming story of loss, that you almost forget that Isaac is so wistful (like Allen himself), but he does what he does out of passion; for his city, for his love, and ultimately for himself. A-
Allen plays a twice-divorced New Yorker, Isaac, on the brink of a mid-life crisis: he is struggling with his career and is dating a 17 year old girl (Mariel Hemingway). His best friend (Michael Murphy) is having an affair with culturally savvy Mary (Diane Keaton), the clash of classes so obviously seen. Despite the differences, Isaac falls for Mary and Mary falls for Isaac, quite the relational web for these characters, but so much more deep than one would imagine.
Manhattan evokes some sort of lost romanticism, the most effective use of idealized post- modern charm. It's both relaxing and utterly thrilling, with Allen's usual notions of his passion and love for New York, shown brilliantly in Gordon Willis' black and white cinematography, which manages to highlight the beauty of New York, wrapped up in the gritty industrialism. Every nuance of the film has New York written all over it. From the iconic places and iconic music, it creates some iconic visuals. It is Allen's adoration of the city and for cinema itself that make it an intimate spectacle on the backdrop of the epic concrete jungle.
The relationships and characters are as lively and complex as the gorgeous city around them. The way Manhattan never gives easy answers for it's characters is one of the strengths of this film, and certainly one of the biggest weaknesses of the modern romantic comedy. He writes these characters as real human beings, with depth beyond adolescent themes and more into his common exploration of psychology and sexual desire, among other things. He really knows how to bring out the best in his cast. There is not a single performance that could be considered less than authentically magnificent, and Allen's top-notch writing certainly helps. Diane Keaton gives another effortless performance, and she fits this film so perfectly: independent, confused, but ultimately bearing psychological American complexities that drive her character to choose what she chooses in the end. Mariel Hemingway is the most subtle, perhaps because of the ingenuity of her character, but always acting so true to form, as if she is living the life of her character and her transitions from bright-eyed-young-girl to bright- eyed-young-woman are done brilliantly. Of course Woody Allen is especially earnest, and throw in Meryl Streep and you've got one of the best casts ever assembled.
It's such a romantic and charming story of loss, that you almost forget that Isaac is so wistful (like Allen himself), but he does what he does out of passion; for his city, for his love, and ultimately for himself. A-