‘Manhattan’ remains Woody Allen’s timeless masterpiece

By TERRY R. CASSREINO

MANHATTAN (1979)

One year after winning the Oscar for “Annie Hall” in 1977, Woody Allen helmed his first serious drama – an absorbing film no doubt inspired by one his favorite directors, Sweden’s Ingmar Bergman.

Diane Keaton heads an ensemble cast for “Interiors,” the story about three sisters whose lives spiral downward when their parents divorce. The drama was a milestone in Allen’s career.

And, I believe, “Interiors” made Allen a better filmmaker, someone who is unafraid to tackle honest, emotional issues. It also prepared him well for his next film, “Manhattan,” a comedy-drama that opened in theaters the following year.

Allen has created many great films in his career, from the laugh-fests of the 1970s like “Sleepers” and “Love and Death” to the rich, character-driven comedies of the 1980s like “Broadway Danny Rose” and “Radio Days.”

But of all his works, “Manhattan” is the one I enjoy the most. “Manhattan” ranks up there with “Annie Hall,” “Hannah and Her Sisters” and “Everyone Says I love You” as the best of Allen’s lengthy screen career.

From Gordon Willis’ lush, spectacular black-and-white cinematography to Allen and co-writer Marshall Brickman’s incisive screenplay, “Manhattan” turns into a film rich with vibrant characters who spend much of the story in the ever elusive search for true love.

This was Allen’s first film shot in the widescreen process. And his decision proves critical because New York City, his beloved hometown, becomes an integral, important part of the film’s story.

A SCENE FROM MANHATTAN

Just watch the film’s brilliant opening: Allen, in the role of writer Isaac Davis, who is penning a book about New York, narrates a montage of striking Willis images from around the city. The entire 3½-minute sequence climaxes in a nighttime fireworks display above the New York skyline – all timed perfectly to George Gershwin’s “Rhapsody in Blue.” It’s the perfect marriage of dialogue, visuals and music.

Years earlier, Willis served as cinematographer on Francis Ford Coppola’s films “The Godfather” and “The Godfather, Part II.” As impressive as Willis’ work was recreating 1940s and 1950s New York for these films, his work on “Manhattan” was even more stunning. The black-and-white photography gives the film a timeless quality; this movie hasn’t aged one bit.

“Manhattan” revolves around Davis, a 42-year-old divorcee, and his questionable relationship with a high school senior. To complicate matters, Davis finds himself attracted to Mary, who is having an affair with his best friend, Yale.

Most laughs in the film spring from the heart of the characters and not from an endless parade of one-liners and sight gags that you find in Allen’s earlier films. This is a more mature Allen, one more than comfortable with depicting serious relationships and feelings rather than going for the cheap laugh.

HANNAH AND HER SISTERS (1986)

You can see the same level of film making seven years later in “Hannah and Her Sisters.” Like “Manhattan,” “Hannah” relies on sharp writing, taut direction and a strong ensemble cast to draw you into a completely believable story about a year in the life of three sisters.

“Hannah and Her Sisters” and “Manhattan” also share the common theme of the elusiveness of love. “Hannah,” though, goes one step further when Allen ends the film on an uncharacteristically sentimental note: Allen’s character finally gets the girl and finally finds true love. The ending was perfect.

In “Manhattan,” things end on a more bittersweet note with Allen’s character, Isaac Davis, still in search of love and happiness.

For “Manhattan,” Allen assembled a cast that included Michael Murphy as Yale, Isaac’s best friend; Mariel Hemingway, Ernest Hemingway’s granddaughter, as Tracy, Isaac’s high school love; and Meryl Streep as Jill, Isaac’s ex-wife. Diane Keaton plays Isaac’s other love interest, Mary.

“Manhattan” was one of the last of Allen’s films featuring Keaton. Besides a cameo in “Radio Days,” Keaton would appear in just one more Allen film, “Manhattan Murder Mystery,” in 1993. The film, though, doesn’t compare favorably to “Annie Hall” or “Manhattan.”

“Manhattan” and “Hannah and Her Sisters” are available for purchase or rental on DVD. Click here to purchase “Manhattan” on DVD through Amazon.com;  click here to buy “Hannah and Her Sisters” on DVD through Amazon.com. Both films also are available for streaming to your computer or television through Netflix.

The trailer for “Hannah and Her Sisters”





The opening of “Manhattan”

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