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  • #6970497
  • Manufacturer: Fox Home Entertainment
  • UPC #883904259671
  • Model #M125978



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    Detail Description
    Detailed Description
    (Manufacturer # M125978 )

      On the heels of Annie Hall, the Oscar-winning romantic comedy that rocketed Woody Allen to the front ranks of American filmmakers, Manhattan continued Allen's romantic obsessions in a slightly darker, more pessimistic vein. Allen stars as Isaac Davis, a TV comedy writer sick of the pap he is forced to churn out and harboring dreams of being the great American novelist. His love life is in barbed-wire territory: he is tormented by his second ex-wife Jill (Meryl Streep), a lesbian who has written a tell-all book about their marriage, and he is dating teenager Tracy (Mariel Hemingway), to whom he refuses to commit, and keeps hinting that a breakup may be imminent. Isaac's disillusioned (and married) best friend Yale (Michael Murphy) has begun an affair with the cerebral writer Mary Wilke (Diane Keaton). While Isaac makes a last minute, sink-or-swim decision to quit his job and devote all of his time to book writing, and neurotically moans about what the lack of a full time job will do to him ("My parents won't have as good of a seat in the synagogue," he moans. "They'll be far away from God... away from the action") Yale is crippled by his lack of resolve, as indicated by his inability to leave his wife Emily (Anne Byrne). Meanwhile, Isaac and Mary begin to fall for one another. Tracy then tells Isaac the basic truth that none of his hung-up friends and past lovers fully realizes: "You have to have a little more faith in people." Manhattan is both a seriocomic dissection of perpetually dissatisfied New Yorkers and an ode to the city itself, filmed in glorious black-and-white by ace cinematographer Gordon Willis, and set to a score of rhapsodic George Gershwin music. ~ Hal Erickson, Rovi
    Movie Type
      Comedy Drama
    Movie Level Themes
      Infidelity, Age Disparity Romance, Faltering Friendships
    Movie Level Tones
      Stylish, Humorous, Bittersweet, Literate, Lyrical, Wistful, Talky
    • 1979--British Academy of Film and Television Arts, Marshall Brickman-Winner
    • 1979--French Academy of Cinema, Woody Allen-Winner
    • 1979--New York Film Critics Circle, Woody Allen-Winner
    • 1979--Los Angeles Film Critics Association, Meryl Streep-Winner
    • 1979--National Society of Film Critics, Meryl Streep-Winner
    AMG Rating


      Woody Allen's valentine/ode to the city captures New York at its most iconic, framing its skyscrapers and other landmarks with lavish care and setting its pace to the rhythm of George Gershwin's melodies. In addition to being Allen's most visually striking film (thanks in large part to Gordon Willis' gorgeous black-and-white photography), Manhattan is also one of his most satisfying, considered by many his greatest achievement. A deeply funny exploration of love, guilt, and everything in-between, the film matches its humor with poignancy. Rather than provide caricatures of urban professionals who think too much for their own good, Allen gives us full-blooded individuals whose anxiety is matched only by their complexity. Even the most incidental, unseen characters, such as Mary's psychiatrist (who telephones her at 3 a.m., weeping) have a rare vibrancy and dimensions all their own. Many critics who reviewed Manhattan at the time of its release remarked that it reflected Allen's growth as a filmmaker, providing a more compassionate, clear-eyed exploration of themes that he had examined in Interiors and Annie Hall, his two previous efforts. Manhattan effectively promoted Allen to the upper echelons of the director/screenwriter realm; a triumphant synthesis of old-fashioned style and modern sensibility, it defined both a director and a genre, setting new standards for the urban comedy. ~ Rebecca Flint Marx, Rovi


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