Manhattan

If Manhattan was only a romantic comedy, it would be a very good one, but the fact that the movie has so much more ambition than the "average" entry into the genre makes it an extraordinary example of the fusion of entertainment and art. This is Allen in peak form, deftly mastering and combining the diverse threads of romance, drama, and comedy - and all against a black-and-white backdrop that makes us wonder why color is such a coveted characteristic in modern motion pictures.

Deft comedy set in a neurotic town. People may argue about the relative merits of Annie Hall vis-a-vis Manhattan, which is a better and more fully realized film. By this time Allen had forsworn the glib one-liner and spent more time developing well-rounded characters.

What happens is not the substance of Manhattan as much as how it happens. The movie is full of moments that are uproariously funny and others that are sometimes shattering for the degree in which they evoke civilized desolation.

Never before has Allen been able to integrate comedy and pathos as deftly as he does in Manhattan. [28 Apr 1979, p. 17]

this is a very good movie. Woody Allen is ... Woody, sublimely. Diane Keaton gives us a fresh and nicely edged New York intellectual. And Mariel Hemingway deserves some kind of special award for what's in some ways the most difficult role in the film.

Woody Allen uses New York City as a backdrop for the familiar story of the successful but neurotic urban over-achievers whose relationships always seem to end prematurely. The film is just as much about how wonderful a place the city is to live in as it is about the elusive search for love.

The script is funny and observant, full of shocks of recognition, but for all his progress as a writer, Allen's direction remains disconcertingly amateurish. Still, it remains perhaps the only film in which Allen has been able to successfully imagine a personality other than his own.

Actually I'm disappointed because the movie didn't answer a lot of question, such as: * How on earth the tone slips so gracefully between the gut-busting one-liners and emotionally exhausting romantic moments like that? * How can a black-and-white film still be considered as one of the most beautiful movies ever with its gorgeous cinematography? * How can a 96 min film has such character development? * How can a single quote make a lot of change to the characters and the story itself? * How can a soundtrack that features only the rhythms of songs can speak for the hero at every stage he get through? * How can a movie this complex and presents messages about love and loss seems to be so simple that can be rewatched. .... and many more questions left unanswered. Mariel Hemingway performance is phenomenal! Hands down one of the smartest and most subtle screenplays ever written! By far, Manhattan is the best Woody Allen movie. By the way, I'm a big fan of Annie Hall. This movie is the definition of "Bittersweet"! (10/10)

"Manhattan" is Woody Allen's best movie so far, right up there next to Annie Hall. The film is an in-depth character study about relationships in the greatest city on Earth and how people affect each other. The movie is convincing with its amazing acting, wonderful story, and almost flawless screenplay. Woody gives his character such quirk and self conceit that you can't help but feel sorry for the poor man.

It's not that I thought it was a bad movie. I just view Manhattan as Annie Hall 2. The main plot is relatively the same, As is the humour. And while the directing and acting is top-notch, I just felt that Allen was trying to capture the magic of Annie Hall again without really offering anything new this time around.

I don't like romantic comedies and I don't really like Woody Allen. So yeah, I didn't like this film very much. The characters are not really interesting or engaging and I felt the romance wasn't that great at all. At least it was quite short and not as slow moving or as dialogue-empty as other films. But still, I was not very pleased with this movie but then again others do and so I suggest you think carefully if you're considering watching this film.

Revoilà Droopy, revoilà Caliméro qui a repris quelques amphètes et/ou sniffé quelques rails et qui se met à soûler tout le monde, à blablater comme un détraqué, comme le pauvre gars névropathe qu'il est depuis toujours. Il se prend pas pour de la merde le peigne-cul (il doit viser Cannes et son festival de balais dans le fondement -plusieurs à la fois) il tourne carrément en noir et blanc parce que le noir et blanc, c'est comme se racheter une conduite pour un taulard : on vous prend pour un "artiste". Forcément. Mais pourquoi le "noir et blanc" ? s'interroge Télérama. Vous croyez qu'il y a un message (caché) là-dessous ? Le siphonné de la parlote Woody Woodpecker dans son inépuisable logorrhée déblatère que se taper une jeune plante de 17 balais, c'est -finalement- un bon plan et incontestablement plus sympa que de rester avec cette rombière de Diane Keaton, même si elle ne porte pas de soutif (une féministe...). De toute façon, on s'en fout, ce qui compte, c'est d'en parler avec ses amis, ses ex, ses futures, son public (Positif a adoré) et à sa ville de cubes en béton. On sent que Caliméro Droopy n'a pas fini de nous faire chier : le pleurnichard binoclard est comme Terminator : impossible à arrêter. Et il ne la ferme jamais.