Amazon.co.uk Review
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 catalogue of Things that Make Life Worth Living. 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 insoluble, 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 favourite phrase is used to describe a piece of sculpture at the Guggenheim: "It has a marvellous kind of negative capability".) The film'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
Customer Reviews:
A film that rewards with every viewing.......2007-11-14
'Manhattan' is absolutely essential for any Allen collector's horde: a wry, intelligent and painfully realistic examination of personal confusion and, of course, human relationships that have become Allen's trademark. The film also showcases some of the best cinematography ever seen on film and a sweeping Gershwin score.
Woody plays Isaac Davis, a neurotic wannabe novelist who hates his television job and lesbian ex-wife, finding solace in a sexually charged but ultimately immature liaison with a 17-year-old college student. He also hates his best friend's mistress, (Diane Keaton again at her best in an Allen film), but soon his resentment of her cerebral haughtiness turns to attraction. The joy, as ever, in Woody's films is the ability he has in writing the complexities of human interaction and drawing the drama out through the characters' foibles and wit. 'Manhattan' is more than the sum of its parts and I always enjoy seeing Allen's characters facing up to the choices they've made and not necessarily resolving their issues as you'd expect. This is beautiful, urgent and honest filmmaking and 'Manhattan', like most of Allen's films, is a special experience for that alone.
This isn't a film with faults as such, though I prefer the likes of 'Annie Hall', 'Crimes and Misdemeanors' and 'Broadway Danny Rose' of Allen's canon. But there is no doubting the quiet power of 'Manhattan' that enriches the viewer's experience in different ways whenever you watch it.
It's a good night in but not a truly great movie.......2007-08-29
Just cos Woody Allen made this and its in black and white people think this must be a classic-like the best film ever made-well it isnt! Its a good night in with your partner if the 2 of u still get along but it does not hold up to closer scrutiny-really. He is still cracking rather abstruse jokes all the time thinking we havent heard them all before-my opinion-hes a 2nd rate Groucho Marx who struggles to forget himself. But the films a good night in.
Well it isn't a masterpiece but it is a superior romantic comedy.......2007-08-05
I wanted to criticise this film for its self indulgence, Allen's obsession with himself and his own entangled life, its insularity of scope, and most of all its pretentiousness. The trouble is, every time I put this on to convince myself what a bad film maker Allen was, I actually come away thinking this is a really good effort. No, he hadn't quite got out of his long standing habit of making wise cracking jokes instead of threading a good continuous narrative here, but he had turned a significant corner in getting there. There are plenty of funny jokes still there, but they are much better deployed within the dialogue than they once had been. He probably made his directoral talent known with Annie Hall, but here he takes it a stage further. Manhattan's more ambitious and it looks more like film making than mere directing-hence the choice of black and white film instead of colour. He's on top form with his writing, as he's really got a hold of this characterisation and scene building thing by now. Also his one liners are getting a little darker, and in some cases a little strained from all the repetition over the years. As an actor, although still very nimble with his delivery, his acting style is looking a little bit ragged, still too narrow for really big pictures, which you can see he is desperate to make. He is still a very funny purveyor of his own material here, but you can almost sense the strain he feels of writing, directing, and being the star. Or you could put it another way and say, having worked with his partner Diane Keaton for so long, he realised by now he was getting acted off the set. Her performance is really good in this film, and shows her range is far greater than just comedy. So this was the beginning of a new grown up Woody Allen film phase. Well it had to happen.
Good attempt at a comedy drama, he may have used up some of his classic sketches in Annie Hall, but he relies on wit and dialogue more here to try and get that second Oscar. He knows by now he has to deliver deeper characters and situations to get noticed as a serious film maker and he does this in the way he feels most comfortable with, revealing honestly the kind of entangled relationships he himself is prone to. He wraps it all up quite nicely in a homage to the romance friendly town he knows so well, whilst suggesting clearly that the many romances New York encourages are not always deep and meaningful. Some good shots of the city in arty black and white, excellent use of soundtrack, and good effort all round. However, it tries to con you with its style, this film, no doubt about it, as the sum of all its good looking parts do not add up to a masterwork, in any critic's eye. It is a classic comedy drama, if you want, and possibly is his best film but it is no masterpiece at all. A bundle of funny jokes about death and philosophy will never equate to real depth, and a complicated love life is not the biggest subject in the world. People who think instantly that this movie must be a masterpiece and one of the best films ever made are simply not looking at it critically enough. There are thousands of better films than this. Many of them, far less pretentious.
Allen's Masterpiece.......2007-04-11
Although this is not Woody Allens funniest film, it is his best and its one of the best films ever made. It is funny though, but not in the same way as his 'early funny' ones!
Woody Allen's brilliant writing is there right from the start of the film as we listen to Issac's (Woodys character) opening monologue rewritten over and over, to a selection of stunning images of New York.
The film is in black and white and all the better for it. Somehow the cinematographer Gordon Willis has captured everything that is beautiful about New York in this film. The use of music is also key to this film. Its nearly all George Gershwin and the combination has never been matched in the history of cinema.
The plot is tangled web of Issacs relationships with women, and as you'd expect with Woody Allen its never quite right. The leading women in the film, Diane Keaton, Meryl Streep (who is vicious) and Mariel Hemingway are all superb. In the end Issac has to make a decision over who he really wants to be with and this leads to two great scenes which unless you were born with your heart removed will leave you choked.
This is a truly great film in all respects and is an essential addition to any film fans collection. Sadly there are no extras with the DVD, but it is widescreen.
Waste of time.......2007-03-03
I've never nearly watched so much tosh in all my life! I forced myself to watch 20 minutes and that was enough. I've never liked Woody Allen a san actor so maybe I'm predudiced, but the storyline was so slow, the black and white photography so boring I was struggling to stay awake. If you want entertained...don't watch this film.
Amazon.co.uk Review
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 catalogue of Things that Make Life Worth Living. 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 insoluble, 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 favourite phrase is used to describe a piece of sculpture at the Guggenheim: "It has a marvellous kind of negative capability".) The film'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
Customer Reviews:
A film that rewards with every viewing.......2007-11-14
'Manhattan' is absolutely essential for any Allen collector's horde: a wry, intelligent and painfully realistic examination of personal confusion and, of course, human relationships that have become Allen's trademark. The film also showcases some of the best cinematography ever seen on film and a sweeping Gershwin score.
Woody plays Isaac Davis, a neurotic wannabe novelist who hates his television job and lesbian ex-wife, finding solace in a sexually charged but ultimately immature liaison with a 17-year-old college student. He also hates his best friend's mistress, (Diane Keaton again at her best in an Allen film), but soon his resentment of her cerebral haughtiness turns to attraction. The joy, as ever, in Woody's films is the ability he has in writing the complexities of human interaction and drawing the drama out through the characters' foibles and wit. 'Manhattan' is more than the sum of its parts and I always enjoy seeing Allen's characters facing up to the choices they've made and not necessarily resolving their issues as you'd expect. This is beautiful, urgent and honest filmmaking and 'Manhattan', like most of Allen's films, is a special experience for that alone.
This isn't a film with faults as such, though I prefer the likes of 'Annie Hall', 'Crimes and Misdemeanors' and 'Broadway Danny Rose' of Allen's canon. But there is no doubting the quiet power of 'Manhattan' that enriches the viewer's experience in different ways whenever you watch it.
It's a good night in but not a truly great movie.......2007-08-29
Just cos Woody Allen made this and its in black and white people think this must be a classic-like the best film ever made-well it isnt! Its a good night in with your partner if the 2 of u still get along but it does not hold up to closer scrutiny-really. He is still cracking rather abstruse jokes all the time thinking we havent heard them all before-my opinion-hes a 2nd rate Groucho Marx who struggles to forget himself. But the films a good night in.
Well it isn't a masterpiece but it is a superior romantic comedy.......2007-08-05
I wanted to criticise this film for its self indulgence, Allen's obsession with himself and his own entangled life, its insularity of scope, and most of all its pretentiousness. The trouble is, every time I put this on to convince myself what a bad film maker Allen was, I actually come away thinking this is a really good effort. No, he hadn't quite got out of his long standing habit of making wise cracking jokes instead of threading a good continuous narrative here, but he had turned a significant corner in getting there. There are plenty of funny jokes still there, but they are much better deployed within the dialogue than they once had been. He probably made his directoral talent known with Annie Hall, but here he takes it a stage further. Manhattan's more ambitious and it looks more like film making than mere directing-hence the choice of black and white film instead of colour. He's on top form with his writing, as he's really got a hold of this characterisation and scene building thing by now. Also his one liners are getting a little darker, and in some cases a little strained from all the repetition over the years. As an actor, although still very nimble with his delivery, his acting style is looking a little bit ragged, still too narrow for really big pictures, which you can see he is desperate to make. He is still a very funny purveyor of his own material here, but you can almost sense the strain he feels of writing, directing, and being the star. Or you could put it another way and say, having worked with his partner Diane Keaton for so long, he realised by now he was getting acted off the set. Her performance is really good in this film, and shows her range is far greater than just comedy. So this was the beginning of a new grown up Woody Allen film phase. Well it had to happen.
Good attempt at a comedy drama, he may have used up some of his classic sketches in Annie Hall, but he relies on wit and dialogue more here to try and get that second Oscar. He knows by now he has to deliver deeper characters and situations to get noticed as a serious film maker and he does this in the way he feels most comfortable with, revealing honestly the kind of entangled relationships he himself is prone to. He wraps it all up quite nicely in a homage to the romance friendly town he knows so well, whilst suggesting clearly that the many romances New York encourages are not always deep and meaningful. Some good shots of the city in arty black and white, excellent use of soundtrack, and good effort all round. However, it tries to con you with its style, this film, no doubt about it, as the sum of all its good looking parts do not add up to a masterwork, in any critic's eye. It is a classic comedy drama, if you want, and possibly is his best film but it is no masterpiece at all. A bundle of funny jokes about death and philosophy will never equate to real depth, and a complicated love life is not the biggest subject in the world. People who think instantly that this movie must be a masterpiece and one of the best films ever made are simply not looking at it critically enough. There are thousands of better films than this. Many of them, far less pretentious.
Allen's Masterpiece.......2007-04-11
Although this is not Woody Allens funniest film, it is his best and its one of the best films ever made. It is funny though, but not in the same way as his 'early funny' ones!
Woody Allen's brilliant writing is there right from the start of the film as we listen to Issac's (Woodys character) opening monologue rewritten over and over, to a selection of stunning images of New York.
The film is in black and white and all the better for it. Somehow the cinematographer Gordon Willis has captured everything that is beautiful about New York in this film. The use of music is also key to this film. Its nearly all George Gershwin and the combination has never been matched in the history of cinema.
The plot is tangled web of Issacs relationships with women, and as you'd expect with Woody Allen its never quite right. The leading women in the film, Diane Keaton, Meryl Streep (who is vicious) and Mariel Hemingway are all superb. In the end Issac has to make a decision over who he really wants to be with and this leads to two great scenes which unless you were born with your heart removed will leave you choked.
This is a truly great film in all respects and is an essential addition to any film fans collection. Sadly there are no extras with the DVD, but it is widescreen.
Waste of time.......2007-03-03
I've never nearly watched so much tosh in all my life! I forced myself to watch 20 minutes and that was enough. I've never liked Woody Allen a san actor so maybe I'm predudiced, but the storyline was so slow, the black and white photography so boring I was struggling to stay awake. If you want entertained...don't watch this film.
Customer Reviews:
Dream box-set PLEASE BRING IT OUT ON REGION 2!!!!!!!!!.......2004-01-07
These are the four best Muppet movies by far. And the fact that they have been put together in a box means that somebody, somewhere, knows that. I can't wait for this to be brought out on Region 2 DVD. The earliest films are outright comedy classics, be you child, adult, monkey, man-child, pet - whatever. If you haven't seen The Muppet Movie or The Great Muppet Caper then you are in for a right treat. But only if you havea region 1 player!
UK DVD:
- Men Behaving Badly - Series 1 To 6 [1992]
- Mermaids [1990]
- Michael [1997] (REGION 1) (NTSC)
- Monty Python's Personal Bests Collection
- Morecambe And Wise: Complete BBC Series 3
- Norbit [2007]
- Northern Exposure - Season 2
- Northern Exposure - Series 3
- Only Fools And Horses - The Complete Series 1 To 7 [1981]
- Open All Hours - Series 4
UK DVD List
UK DVD
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